#like in charting songs from the era such as The Revolution Will Not Be Televised or Incense and Peppermints or Legend of a Mind etc

[rabbitmotifs]

omg hii this might sound weird but i js saw some of your old centricide art and instantly recognised your style you're one of my fav centricide artists of all time!!! i think i used to follow you like 2 yrs ago and yeah your art really inspired me ^^

(also i read your intro post and saw you liked punk and is the "turn on, tune in, drop out" a ref to a growing boy needs his lunch?)

OHHH MY GOSSHHH HI!!! i remember you too!! im so flattered that you remember my old centricide art WAH it almost feels like an eon ago... i drew so much god damn leftist yaoi for it. my parasite.

also, on the punk question: while i adore the dead kennedys, it's more that i (and jello biafra) are referencing/criticizing/satirizing the phrase uttered by Timothy Leary, the (arguable) father of the psychedelic movement. for me its just a little tongue-in-cheek way to press the fact that i love acid LOL

[randomvarious]

Today’s compilation:

Stand Up and Be Counted: Soul, Funk and Jazz from a Revolutionary Era 1999 Funk / Soul / Spoken-Word Poetry / Jazz

Today's an important history lesson, folks. I went back to a late 60s/early 70s era of US black revolutionary politics and awareness with this CD that was put out by UK label Harmless in '99. It's those pre-disco days when a lot of black-made music was politically righteous, with scathing lyrical critiques of a still racially unequal status quo, and carried poignant, urgent, and inspirational messages that would help to raise the consciousness among black folks nationwide, as well as anyone else who was willing to listen and learn. It was a time of riotous and fiery tumult, and while this release doesn't seem to fully encapsulate or present all the most prominent songs and musicians that ended up providing the soundtrack for this very volatile handful of pivotal years—where's Sly Stone?—it's still a phenomenal album.

This CD comes with fixtures you'd expect on a release like this: James Brown's "Say It Loud - I'm Black and I'm Proud," Nina Simone's "I Wish I Knew How It Would Feel to Be Free," and perhaps the most iconic piece of spoken-word poetry that's ever been recorded, Gil Scott-Heron's "The Revolution Will Not Be Televised." Basically, if you're putting together an album that's trying to reflect the American black struggle from this specific time period, it'd be prudent to include this particular trio of songs.

But where this album truly shines is with its overwhelming majority of selections that aren't so obvious; songs that contain the same hunger and zeal for equality, but aren't as well known to a general audience. For example, The Last Poets, a spoken-word poetry trio whose early 70s pining for immediate revolution on their self-titled debut album would lay the foundation for the creation, development, and emergence of hip hop music and culture. Their song, "When the Revolution Comes," actually sparked a response from Gil Scott-Heron with "The Revolution Will Not Be Televised," and 22 years after its initial release, a repeated line towards the end of the song would find itself repurposed as the title of The Notorious B.I.G.'s debut single, "Party and Bullshit."

And also on here is a solo track from one of those Last Poets as well, Gylan Kain, whose 1970 song, "Loose Here," off of his debut LP, The Blue Guerrilla, was actually co-written by none other than the legend Nile Rodgers himself, earning him one of his first ever credits, long before he'd *really* break out with a pair of #1s on the disco tip in '78 and '79, with Chic's "Le Freak" and then "Good Times."

Truth be told, though, The Last Poets weren't actually as obscure as you may think that I might be making them out to be here; their debut album managed to sell over 350,000 copies, and it peaked at #29 on Billboard's 200 album chart, and #3 on R&B as well. It's just that, knowing about them was spread pretty much purely through word of mouth; there was certainly no big commercial engine that was driving their sales, and if you weren't black and didn't have your ears tuned to any of this sound, the likelihood that you'd catch wind of them was pretty low.

So, the most obscure song on this album, then, appears to be a funk tune from an anonymous group called The Pace-Setters, whose only ever release, a 1971 7-inch, sings the praises of social activist Jesse Jackson and his then-recently formed PUSH organization on its chugging a-side.

The rest of this CD's tunes are pretty much made up of brilliant funk, soul, and jazz entities—The Impressions, Billy Paul, Archie Shepp, and ex-Temptation Eddie Kendricks—but the album doesn't use any of their singles. All the choices are still terrific, however, especially Kendricks' "My People... Hold On," the slow, earthy, heartfelt, and mantric title track off of his 1972 sophomore album. Interestingly, the name of that album, though, actually chops off the "My" in "My People," suggesting that Motown imprint Tamla didn't want to potentially alienate any parts of its audience with such a transparent appeal to black pride and solidarity 🤔.

Another well-known group on this album is James Brown's former one, The Famous Flames, who are just credited as The Flames here. And as The Flames, they never released an album, but did put out a handful of singles, including this CD's title track, which lives up to the name of the group who made it (it's scorching!), and was produced by James Brown and released on his own label, People, in 1971.

And before I close out, I gotta mention Chicago jazz ensemble The Pharaohs too, because the penultimate track from their 1971 debut album, The Awakening, makes for a tremendous song, with astonishing traded leads between saxophone and guitar, and a constantly thick amount of busy backing behind it all as well. It would still be an amazing tune, even if it didn't have any kind of messaging to go along with it.

So, in sum, Stand Up and Be Counted is an incredible release. It really channels a very important few years of palpably churning American black fervor, and it includes some unforgettable all-timers too, but its real uniqueness is found in its many selections of non-singles, deep cuts, & relative obscurities. I really don't think you'll ever find another late 60s/early 70s black empowerment retrospective that's quite like this one here. A stunningly superb and authentic collection of tunes.

Highlights:

The Flames - "Stand Up and Be Counted" Gil Scott-Heron - "The Revolution Will Not Be Televised" The Impressions - "Mighty Mighty (Spade and Whitey)" Billy Paul - "East" Mike James Kirkland - "Hang On in There" James Brown - "Say It Loud, I'm Black and I'm Proud, Parts 1 & 2" The Last Poets - "When the Revolution Comes" Pace-Setters - "Push on Jessie Jackson" Archie Shepp - "Blues for Brother George Jackson" Eddie Kendricks - "My People... Hold On" The Pharaohs - "Freedom Road" Kain - "Loose Here" Nina Simone - "I Wish I Knew How It Would Feel to Be Free"

[officevalle]

Iconic Tracks That Defined Generations

Music has always been a cornerstone of human culture, a universal language that transcends borders, unites communities, and immortalizes moments in history. From vinyl records to digital playlists, iconic tracks have consistently held the power to influence trends, spark revolutions, and etch themselves into the collective memory of listeners. In this article, we’ll explore some of the greatest milestones in music history, delving into the enduring impact of best selling music albums, the evolution of streaming platforms, and the pivotal moments that continue to shape the industry.

The Impact of Best-Selling Music Albums

Some albums are not just collections of songs; they are cultural phenomena. These best-selling music albums define eras, set benchmarks for artistic achievement, and become synonymous with the zeitgeist of their times. For example, Michael Jackson’s Thriller broke all records and revolutionized the concept of music videos, showcasing how visuals could enhance the storytelling power of music. Similarly, The Beatles’ Sgt. Pepper's Lonely Hearts Club Band introduced innovative recording techniques that continue to influence musicians today.

Albums like these don’t just sell millions of copies—they establish legacies. They create anthems that resonate with multiple generations, proving that music is an enduring art form that evolves but never fades.

Streaming Platforms: A Modern Revolution

In the past decade, the music industry has witnessed a seismic shift with the advent of streaming platforms like Spotify and Apple Music. These platforms have democratized access to music, enabling fans to discover tracks from any corner of the world. Among the artists thriving in this era is Jung Kook, a member of BTS, who has carved a global following through his solo work. His presence on Jung Kook Spotify showcases how streaming has become the primary means of accessing and celebrating music in the digital age.

Notably, Spotify has also become a hub for curated playlists and personalized recommendations, creating an intimate listening experience for users. This evolution has allowed even iconic tracks from past decades to find new life among younger audiences, proving that music has no expiration date.

Technological Innovations in Music Consumption

The way we experience music has evolved in tandem with technological advancements. In recent years, spatial audio has emerged as a groundbreaking feature, offering listeners an immersive, 3D sound experience. Platforms like Apple Music have embraced this trend, with offerings tailored to specific regions like Apple Music Spatial Audio India. This technology allows fans to experience music as if they were sitting in the middle of a live performance, with sounds surrounding them from every direction.

Such innovations have enhanced the way iconic tracks are appreciated, adding depth and dimension to familiar songs. They also open up new creative possibilities for artists, pushing the boundaries of how music can be composed and enjoyed.

The Role of Production Music in Defining Tracks

While hit singles and chart-topping albums often steal the spotlight, production music plays an equally vital role in shaping iconic sounds. Companies like BMG Production Music have been instrumental in creating the sonic backdrops for films, advertisements, and television shows. These tracks, though often unnoticed, form the emotional bedrock of many iconic moments in pop culture.

For example, consider the unforgettable scores behind movie trailers or the catchy jingles that accompany advertisements. These pieces of production music are meticulously crafted to evoke specific emotions, ensuring that the audience connects with the visuals on a deeper level. The integration of production music into mainstream media has further blurred the lines between commercial and artistic soundscapes.

Timeless Lyrics: The Soul of Iconic Tracks

At the heart of every memorable song lies its lyrics. Words have the power to inspire, console, and unite listeners, turning ordinary tracks into extraordinary anthems. For example, songs like Queen’s Bohemian Rhapsody or Bob Dylan’s Blowin’ in the Wind are celebrated not just for their melodies but for their lyrical depth.

Modern tracks continue this tradition, with artists penning songs that resonate with contemporary issues and emotions. A great example is the song Prove It, which captivates listeners with its powerful and evocative Prove It Lyrics. These lyrics often hold a mirror to society, offering a commentary on personal struggles, social justice, or universal themes like love and heartbreak.

The Universal Appeal of Iconic Tracks

Why do certain tracks transcend time and culture? The answer lies in their universal appeal. Whether it’s the anthemic quality of U2’s With or Without You or the electrifying beats of Beyoncé’s Single Ladies, these songs tap into shared human experiences. They remind us of pivotal moments, whether it’s a personal milestone or a historic event.

Iconic tracks also serve as a bridge between generations. Parents introduce their children to the music of their youth, ensuring that these songs continue to thrive in an ever-changing musical landscape. The ability of music to create a shared cultural lexicon is one of its most enduring qualities.

Cultural and Social Impact

Music has often been a catalyst for social change. Tracks like John Lennon’s Imagine or Marvin Gaye’s What’s Going On have become synonymous with movements for peace and equality. These songs prove that music is more than entertainment—it’s a powerful tool for advocacy.

In today’s globalized world, artists from diverse backgrounds are contributing to this legacy. The popularity of K-pop, led by artists like Jung Kook, illustrates how music can break down cultural barriers and foster global connections. Platforms like Spotify amplify these voices, ensuring that iconic tracks are no longer confined to one region or language.

Conclusion: Why Iconic Tracks Endure

Iconic tracks are more than just hits; they are cultural artifacts that capture the essence of their time while remaining relevant for decades. Whether it’s through groundbreaking albums, innovative technologies like spatial audio, or the timeless appeal of compelling lyrics, these songs continue to shape and inspire the world.

As we move into the future, the music industry will undoubtedly face new challenges and opportunities. However, one thing remains certain: iconic tracks will always find a way to connect with listeners, bridging the past, present, and future of music.

[danielsiegelalonso]

Establishing Creativity: How Music Videos Boost Artist Visibility | Daniel Siegel Alonso

Music videos have long played an essential role in shaping an artist's public image and expanding their reach. From the early days of television broadcasts like "Top of the Pops" to the cultural phenomenon of MTV and the current digital era dominated by YouTube and social media, Daniel Siegel Alonso explores why music videos have consistently been a potent tool for artists to connect with global audiences and boost their visibility.

The Early Days

Siegel Alonso rewinds to 1964, when "Top of the Pops," a British television show, was one of the first platforms to recognize the potential of music videos. While the show primarily featured live performances, it also played promo films for songs when artists could not appear live. These early music videos were simple, often featuring the band lip-syncing to their single in a studio setting. As basic as it may seem to our 21st-century eyes and ears, these video clips laid the groundwork for what was to come.

The exposure provided by "Top of the Pops" was invaluable. A single appearance on the show could catapult a song to the top of the charts, and the visual element helped artists create a more memorable impression on viewers--think of visually arresting artists of the era, like David Bowie in his Ziggy Stardust persona and Blondie's Debbie Harry. It became clear that music was not just about the sound; the visual representation of a song could significantly impact its popularity.

The MTV Revolution

The launch of MTV in 1981 revolutionized the music industry. There was a dedicated channel for music videos for the first time, and artists quickly realized that a compelling video could be just as important as the song itself. Siegel Alonso points out that MTV turned music videos into a type of cultural currency, where a successful video could propel an artist to superstardom almost overnight.

Michael Jackson's "Thriller" is perhaps the most iconic example of this era. The 14-minute video, directed by American filmmaker John Landis, was more of a short film than a standard music video. Its groundbreaking special effects, choreography, and storytelling set a new standard for what a music video could be. "Thriller" didn't just promote a single—it created a global phenomenon, helping Jackson's album become the best-selling album of all time.

MTV also helped launch the careers of artists like Madonna and Duran Duran, whose visually striking videos resonated with the channel's teenage audience. Music videos became a critical component of an artist's brand, influencing fashion, trends, and even social attitudes. For many artists, the music video was no longer an afterthought but a central part of their creative process.

The Digital Age

With the advent of the internet and digital platforms, the role of music videos has continued to evolve. YouTube, launched in 2005, became the new MTV—a global platform where anyone could upload and watch videos. This democratization of content creation allowed emerging artists to reach audiences without the backing of a major label. A viral music video could turn an unknown artist into a household name, as seen with Psy's "Gangnam Style," which became the first video to reach one billion views on YouTube.

Instagram and TikTok have further intensified the impact of music videos. Artists can now share behind-the-scenes content, teasers, and snippets directly with their fans, creating a more intimate and continuous connection. TikTok has become a breeding ground for viral hits. Songs like Doja Cat's "Say So" gained immense popularity on the platform, with users creating and sharing their own videos using the songs. This user-generated content often drives streams and sales, proving that a song's success is now inextricably linked to its presence on social media.

The Future of Music Videos

As technology evolves, the potential for music videos to boost artist visibility will only grow. Virtual reality (VR) and augmented reality (AR) open new possibilities for immersive video experiences, while AI and machine learning enable more personalized and interactive content. Artists are increasingly experimenting with these technologies to create unique and engaging experiences for their fans.

In conclusion, Daniel Siegel Alonso asserts that music videos have always been a powerful tool for artists to boost their visibility. From the early days of television to the current digital landscape, the visual representation of music has consistently played a critical role in molding an artist's image and connecting them with audiences. As the music industry continues to evolve, videos will remain a vital part of the artist's toolkit, helping them to stand out in an increasingly overcrowded marketplace.

[sinceileftyoublog]

Summer of Soul (...Or, When The Revolution Could Not Be Televised): Original Soundtrack Review

(Legacy)

BY JORDAN MAINZER

The existence of Summer of Soul (...Or, When The Revolution Could Not Be Televised), Ahmir “Questlove” Thompson’s Academy Award-nominated documentary about the 1969 Harlem Cultural Festival, is nothing short of a miracle. Culled from never-before-seen footage of the summer concert series in Mount Morris Park, the film positions the the monumental event organized by singer and activist Tony Lawrence as just as important of a cultural shift as Woodstock, sans the white boomer heroification. For six weeks, the most brilliant Black artists of eras old and new graced the stage, and Summer of Soul sports many jaw-dropping highlights. Mahalia Jackson and Mavis Staples singing “Precious Lord, Take My Hand” in dedication to the murdered Dr. Martin Luther King Jr. A drum solo from a 19-year-old Stevie Wonder. Nina Simone asking the crowd, “Are you ready, Black people...to smash white things, to burn buildings,” launching into a David Nelson poem, foreshadowing the decades to follow of violent institutional racism and an ignorant white populace. It’s at once a relic of the past and fresh and raw.

How does the Summer of Soul soundtrack, then, stand as a separate experience from the film, one that lacks not only the sociohistorical context of the performances and the faces and of the performers themselves, but Wonder’s drum solo and Hugh Masekela’s trumpet blares? For one, though the festival took place over weeks and the film does have some talking heads, the soundtrack is truly structured like an album, or at least like one amazing concert. Lawrence introduces the Chambers Brothers and occasionally pops in like an emcee, to explain how special it is to have St. Louis’s The 5th Dimension in Harlem for the first time, reveal a surprise performance from The Temptations’ David Ruffin, and sarcastically and nonchalantly refer to Gladys Knight & The Pips as “some folks.” For the most part, like the film, the music does the talking. “I’m goin’ uptown to Harlem / To let my hair down in Harlem / If a taxi won’t take me, I’ll catch a train / I’ll go underground, I’ll get there just the same,” sings Lester Chambers on the opening track. In a sense, that sentiment hovers throughout Summer of Soul: Black folks, even Black artists that could cross over into predominantly white rooms, finally found a space of true acceptance, at least for a few weeks at Mount Morris Park.

The mood throughout the Summer of Soul soundtrack is varied, highlighting the layered complexity of the festival itself. From “Uptown” goes B.B. King’s “Why I Sing The Blues”, a song about the history of mistreatment of Black folks in America, to The 5th Dimension, the countercultural “Black group with the white sound,” a label Marilyn McCoo laments in the present day in the documentary. As much as The 5th Dimension wanted to spread love, as do The Edwin Hawkins Singers with “Oh Happy Day”, one of gospel’s first forays into the mainstream charts, it’s The Staple Singers and Nina Simone that linger. We’re used to hearing Mavis Staples’ guttural prayers at music festivals these days, but for many at the Harlem Cultural Festival, they were witnessing a master for the first time.

The crossovers are also surefire hits here, and not just Sly & The Family Stone, the only band to appear at both the Harlem Cultural Festival and Woodstock. As much as you hear about Carlos Santana performing at the latter, Mount Morris Park was a true fusion of Latin, African, and Black American influence, a sense of solidarity among the oppressed from which white musicians stole. “The blood of mankind flows in me,” sings Ray Barretto on “Together”, in between Mongo Santamaria’s “Watermelon Man” and Herbie Mann’s version of “Hold On, I’m Coming��, the latter replete with an all-star band of screechy rippers. The time period also represented an increasing interest in Afrocentric art and modes of thought; Abbey Lincoln and Max Roach’s “Africa” offers a sense of hope before Simone’s realism.

If Questlove’s documentary is one of the best and arguably the most important concert film ever made, you could argue that its soundtrack is a worthwhile bonus. But as an accessible introduction to a once forgotten moment in cultural history, its widespread potential is nothing short of powerful, its aura nothing short of awe-inducing.

[machinations-ii]

Debut Album of The Strokes' Is This It and Interpol's Turn on the Bright Lights.

TURN ON THE BRIGHT LIGHTS

New York City was in transition in 2002, the devastation of 9/11 still lingered but a new sense of goodwill and compassion flowed through the city with dozens of bands reanimating a faded glory that had come to define the Giuliani era. Arriving after several well-regarded EPS that honed Interpol's Sonic and sartorial sense, it's possible no album captured this moment as vividly as their debut turn on the bright lights. Interpol took shape at NYU in the late 1990s where the band formed partially as a result of mutual fashion appreciation. Frontman Paul banks had come across bassist Carlos dangler in their dorm wearing skin tight black clothing and a giant crucifix. Meanwhile guitarist daniel kessler had already gotten to know Dengler in a world war 1 class after approaching him with a compliment about his shoes, and the trio eventually found replacement drummer Sam Fogerino while he was working in a used clothing store. Soon after coming together, the group started to jam at Funkadelic studios, PDA was already in embryonic form by then. After hustling in the NYC circuit and recording here and there, a chance meeting with Emma Pollock of the Delgado's led to the release of an Interpol EP in 2000 on the esteemed chemical underground label. On the heels of the EP success and in the midst of the post strokes gold rush in New York City, Interpol scored a deal with Matador Records then home to bands like Belen Sebastian, yo a tango, and pavement. Chris Lombardi of Matador claimed that he was most impressed by the business-like manner with which the band conducted themselves the suits first and foremost. Interpol decided to record turn on the bright lights at producer Peter Quedas's home studio in Bridgeport Connecticut to avoid all of the temptations New York City had to offer a hot young band while Cadis has gone on to produce the national, Frightened Rabbit, and Yan C, his most recent credit prior to turn on the bright lights was engineering the get up kids on a wire. Sessions were contentious Carlos D had wanted more keyboards, more nights on the town, and the title of the record to be celebrated baselines of the future. If banks had his way, PDA wouldn't have even made the record. However Quedas protested and told him that's their hit single, which it was. Quedas was not enthused with the new, until the final mix which had him in tears. But for all the seriousness and grandeur of turn on the bright lights moments of humor abounded. The spoken intro of Stella was a diver and she was always down; was recorded while banks was ad-libbing with ice in his mouth “this one called Stella was a diver she's always down”. Anchored by Carlos D and Fogerino’s hulking rhythm section, Banks created it in New York City recognizable to its citizens but in cryptic indelible lyrics. “The subway was a porno”, “relationships were a bracelet” and “they had 200 couches for you to sleep” when it all felt like too much. Beginning with a crowd stoking instrumental that would foreshadow runs opening for U2 and the Cure, turn on the bright lights resulted in music of unusually sweeping and grandiose gestures that felt foreign to rock music in general at the time but especially to indie rock. It's hard to imagine the transition towards the post-punk bombast of Arcade Fire, The Killers, and the National without Interpol opening the lane first. While local papers would occasionally snark at them as fashion victims and post-punk dilettante, critical acclaim for turn on the bright lights was overwhelmingly positive. The brilliance of turn on the bright lights is all the more apparent 19 years later a beacon that continues to shine radiantly during its city's darkest moments. IS THIS IT

Fueled by hype that was extraordinary even by the standards of the British press, The Strokes became instant superstars in the UK long before their fellow Americans heard “is this it” thirty-six stylish lo-Fi down-and-dirty minutes of unwholesome Downton Blues that evoke The Velvet Underground, The Ramones, television, and countless others who will firm New York City as the epicenter of punk rock cool, the strokes debut was already in stores in the UK for months before its eventual American release mere weeks after the September 11th attacks. Is this it subsequently took on an unintended resonance and became a sentimental document of a New York City that would no longer exist after Rudolph Giuliani, gentrification, and the war on terror. The Strokes may not have saved rock and roll themselves but The Libertines, Franz Ferdinand, Interpol, the killers, and the Arctic Monkeys likely wouldn't exist without “is this it”. while several members of The Strokes have been playing together since high school in a project called “just pipe” the band truly took shape after guitarist Albert Hammond jr. joined the group he and singer Julian Casablancas attended the same Swiss boarding school and reconnected after Hammond returned to New York City and serendipitously moved across the street from Elite Model Management which just so happened to be owned by Casablancas’ father. Contrary to the stereotype of The Strokes as a prefab overnight success, the group struggled throughout the late 90s playing to empty rooms before their demo got the attention of Rough Trade ANR man Jeff Travis, nor were they predator naturally cool from the start. before The Strokes first gig Hammond claims the band was so nervous they watched the Eddie Murphy movie Bowfinger to calm themselves. Preliminary sessions for is this it were recorded with Gil Norton best known for his work with the Pixies but also Foo Fighters “ultra slick the color in the shape” for the album itself The Strokes would reunite with Gordon Raphael who previously produced the modern age EP. The unorthodox production of “is this it” was the result of Raphael using a minimal number of microphones and following Casablancas says requests to have it sound like your favorite blue jeans not totally destroyed but worn in comfortable. According to Raphael an A&R guy named Steve obelisk II held is this it most unprofessional sounding music that he has never heard. The strokes declined the invitation from MTV to play alongside the vines in the hives at the 2002 Video Music Awards. The band didn't want to be lumped in to quote the new rock revolution it consisted of mostly bands with the word the and a plural noun in their names. Casablancas told MTV I'm not going to do a band off with them and strokes manager Ryan gentle said “that was pretty much the last time we were played on MTV”. The infamous bare-bottom on the international release of is this it is that of photographer Colin lanes girlfriend, however concerns about whether conservative chain stores like Target and Walmart would carry the record but The Strokes to switch to the American cover shot of a subatomic particle in a bubble chamber Casablancas is rumored to have liked it even more than the original. A more crucial alteration from the international version involves the removal of its own, New York City cops all involved agreed that a chorus of New York City cops they ain't that smart would be considered in poor taste after 9/11 even if the song was written years previous by removing the song from the US release of is this it there's not a single song in a Strokes album that has mentioned New York City by name. Well The Strokes achieved a level of popularity rivaled by few American bands in the 21st century is this it was considered a commercial disappointment in its time it peaked only at number 33 on Billboard while lead single last night topped out at number five of the modern rock chart with some day stalling at Number 17. Long story short, these two albums (and arguably two of the best rock albums of all time) had left a dent in my

life for it defined my teenage years when I had nothing, lost, and frustrated with my life. It reminded me the melancholic time that I had in the past. So I'll leave you guys with a lyrics from each album and try to find the song that corresponds to it :). "I have 7 faces, and I know which one to wear" "Soma is what they would take when hard times opened their eyes and saw pain in a new way"

[blackkudos]

Gil Scott-Heron

Gilbert Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues".

His music, most notably on the albums Pieces of a Man and Winter in America in the early 1970s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul. Scott-Heron is considered by many to be the first rapper/MC ever. His recording work received much critical acclaim, especially one of his best-known compositions, "The Revolution Will Not Be Televised". AllMusic's John Bush called him "one of the most important progenitors of rap music," stating that "his aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career."

Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012. Scott-Heron received a posthumous Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture (NMAAHC) that officially opened on September 24, 2016, on the National Mall, and in an NMAAHC publication, Dream a World Anew.

Early years

Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott, was an opera singer who performed with the New York Oratorio Society. Scott-Heron's father, Gil Heron, nicknamed "The Black Arrow", was a Jamaican soccer player in the 1950s who became the first black man to play for Celtic Football Club in Glasgow. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School after impressing the head of the English department with one of his writings and earning a full scholarship. As one of five black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him, "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.

After completing his secondary education, Scott-Heron decided to attend Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement. The Last Poets, a group associated with the Black Arts Movement performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?" Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.

Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at Federal City College in Washington, D.C. while maintaining his music career.

Recording career

Scott-Heron began his recording career in 1970 with the LP Small Talk at 125th and Lenox. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.

Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice: "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."

1974 saw another LP collaboration with Brian Jackson, the critically acclaimed opus Winter in America, with Bob Adams on drums and Danny Bowens on bass. The album contained Scott-Heron's most cohesive material and featured more of Jackson's creative input than his previous albums had. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. 1975 saw the release of the single "Johannesburg", a rallying cry to the issue of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.

A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1978. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.

In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song, "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.

Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs; Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.

Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line, "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh". The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. Message to the Messengers was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:

They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.

Later years

Prison terms and more performing

In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.

On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.

After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.

Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.

In April 2009, on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.

In 2010, Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.

I'm New Here

Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.

The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".

Scott-Heron described himself as a mere participant in an interview with The New Yorker:

This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.

The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.

In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.

Death

Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a European trip. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.

He was survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and who was a member of Lost Boyz.

Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.

After Scott-Heron's death, Malik Al Nasir told The Guardian's Simon Hattenstone of the kindness that Scott-Heron had showed him throughout his adult life since meeting the poet back stage at a gig in Liverpool in 1984. The BBC World Service covered the story on their Outlook program with Matthew Bannister, which took the story global. It was subsequently covered in other media such as BBC Radio 4's Saturday Live, where jazz musician Al Jarreau paid tribute to Gil, and was mentioned the U.S. edition of Rolling Stone and The Huffington Post. Malik & the O.G's performed a tribute to Scott-Heron at the Liverpool International Music Festival in 2013 with jazz composer Orphy Robinson of The Jazz Warriors and Rod Youngs from Gil's band The Amnesia Express. Another tribute was performed at St. Georges Hall in Liverpool on August 27, 2015, called "The Revolution will be Live!", curated by Malik Al Nasir and Richard McGinnis for Yesternight Productions. The event featured Talib Kweli, Aswad, The Christians, Malik & the O.G's, Sophia Ben-Yousef and Cleveland Watkiss as well as DJ 2Kind and poet, actor, and radio DJ Craig Charles. The tribute was the opening event for 2015 Liverpool International Music Festival.

In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.

Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.

Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.

Scott-Heron's memoir, The Last Holiday, was published in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:

The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.

Scott-Heron's estate

At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley is not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate.According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron introduced me [Rackley] from the stage as his son."

In 2011, Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but by March 2016 further information on the matter was not publicly available. Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016. In December 2018, the Surrogate Court ruled that Rumal Rackley and his half sisters are all legal heirs.

According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. The case was decided in December 2018 with a ruling issued in May 2019.

Influence and legacy

Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".

Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:

Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".

Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:

Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.

Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:

In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".

Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".

In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.

Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]". As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.

Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".

In the 2018 film First Man, Scott-Heron is a minor character and is played by soul singer Leon Bridges.

He is one of eight significant people shown in mosaic at the 167th Street renovated subway station on the Grand Concourse in the Bronx that reopened in 2019.

[dippedanddripped]

At a passing glance, it would appear that hip-hop has been defanged when it’s needed most. This is the most intense political era in living memory, and instead of rousing, politicized music from the genre that revolutionized rousing, political music, we’re mostly still getting more of the same hedonistic club bangers. Escapism is one thing… but desperate times call for desperate measures.

Beginning life within the celebratory escapism of The Bronx’s block parties, its move away from frivolous, crowd-pleasing wordplay gave way to something groundbreaking. Looking past the throngs of revelers to their broader surroundings, hip-hop became a vehicle for rappers to articulate discontent towards the entrapping tactics and disparities that ravaged their communities.

So for every exercise in elation, you had a stark but danceable piece of political commentary, such as Grandmaster Flash’s iconic journey through urban squalor on “The Message.” And in times where systemic discrimination reared its head most acutely, hip-hop responded in kind, providing a prescient and educational soundtrack. At the height of their powers, Public Enemy’s Chuck D enlightened NME on the pivotal purpose that hip-hop serves in broadening otherwise shuttered minds: “It’s a college course in black life,” he remarked in 1988, “as a matter of fact, it’s a whole damn degree you can earn.” Speaking just months before full-scale rioting engulfed Miami after police shot and killed 23-year-old Clement Lloyd, the commonality between the unrest of 31 years prior and today epitomizes why hip-hop’s sermons on injustice are still integral to the curriculum.

Yet in a time where activism is at a sustained height, what’s seen as the genre’s mainstream feels increasingly estranged from the struggles that necessitated its creation.

As calls for police reform reached a fever pitch, Nicki Minaj and Tekashi 6ix9ine’s “TROLLZ” was breaking YouTube’s record for most views of a hip-hop video in a single day. While Nicki has insisted that a “portion” of the proceeds will be allocated to The Bail Project, the track itself exists in its own gaudy vacuum. A microcosm of much of what Spotify re-designated as “Pop Rap” within their 2019 “Wrapped” findings, it plays up to all the clout-oriented egotism and excess that’s besieged the chart’s upper-reaches. To many casual listeners, these traits seem like prerequisites for that coveted Billboard success, dispensed without nuance or the faintest desire to surpass the one-dimensional.

Often miscast as a generational divide, the real crux of the matter is that some artists are content within the safety net of banality, while those who believe in hip-hop’s mobilizing power recognize the need for dissenting voices. Here, in the latter, we find the blossoming future of “political rap,” unbeholden to typecasting and producing engaging, 360-degree dispatches from Black life.

Although she was specifically discussing women in hip-hop, Chicago’s Noname captured the mood of the age when she declared that rappers “need to exist in multitudes.” Exemplified within her own 2018 magnum opus Room 25, a gripping track such as “Blaxploitation” neatly coexisted with a wide array of topics, biting humor, and slick demonstrations of lyrical prowess. Granted further autonomy by the online sphere, Noname’s assessment has set the tone for a new norm where rappers don’t need to sideline or fully focus on their conscious side to reach their audience.

Idealistic as it may sound, this state-of-play has been vividly illustrated by music made in both the preceding months and immediate aftermath of the callous murder of George Floyd. Proving that not only is hip-hop still intrinsically linked to its activistic roots, but also that this spirit is kept alive without rescinding artistic identity.

Run the Jewels stand out as a defining example of this trait. Driven in equal parts by cartoonish violence and stirring social commentary, they thrive on their duality. Not above sonic bombast or puerile humor, EL-P’s willingness to rhyme about “a cat shitting on my carpet” while “[Killer] Mike’s shooting a poodle” encapsulates the aura of fun and camaraderie that’s helped make them such a riveting duo. By the same token, their new album Run the Jewels 4’s unflinching portrayals of an ill-governed world on “Walking in the Snow,” “Ju$t,” or “A Few Words for the Firing Squad” anointed the project as a soundtrack to global revolt. Operating in every terrain they see fit, RTJ are a prime example of the modern, multi-faceted approach. As opposed to being a wafer-thin caricature, they juggle the whimsical and socio-political profundity with similar poise.

A product of both artistic vision and vigilance, the group’s instinctual tie to civil disobedience was summarized by Killer Mike as he explained, “In my mind, things are never not happening.”

Much like Noname’s call for eclecticism, the Atlanta veteran believes that it would be impossible for social insights to be absent from his work, invoking the old adage that “if you’re not angry, you’re not paying attention.”

Released days after George Floyd’s passing, Freddie Gibbs and The Alchemist’s Alfredo wasn’t earmarked for incisive commentary on police brutality. Yet in the same vein as RTJ, both Freddie’s first-hand encounters with prejudice and his cognizance of today’s fractious climate ensured it naturally came to the fore. While “Gangsta’ Gibbs” may have routinely quashed Tupac comparisons, he’d turn prophetic on the stunning “Scottie Beam,” proclaiming “the revolution is the genocide. Yeah, my execution might be televised.”

Speaking to Billboard after its release, Freddie discussed both the cultural osmosis that led to this poignant bar and its immediate adoption as political sloganeering. “It’s crazy I’ve been seeing people with ‘my execution might be televised�� signs at protests, but I didn’t really think about that when I was making Alfredo. I made that record before George Floyd. So it was no problem to make that song because I breathe that shit.”

Reaching communities where his calm contemplation is recognizable, as well as others in which which this tenuous grip on mortality is unthinkable, the fact that Freddie is as perceptive as he is entertaining means that by existing in more than one sphere, he, like RTJ, can infiltrate both dismissive and receptive minds.

Just as Freddie’s contemplative bar felt candid and spontaneous, hip-hop’s power to convey the realities which form the hardened exterior made Conway the Machine’s “Frontlines” register as an extension of his pre-existing catalogue. Responding to the latest atrocities in real-time, Griselda’s lieutenant struck an innately human note, declaring “just ‘cause he from the ghetto, that don’t mean he sellin’ crack/ He drivin’ home from work, you pull him over ‘cause he Black.”

Where Buffalo’s premier boom-bap crew normally trade in luxury brands and clandestine enterprise, Conway proved that, in the same vein as Freddie and Mike, the usual myth-making recedes to the background when it’s time to stand up and be counted. Encouragingly, he’s far from the only one.

Debunking the notion that hip-hop’s youth are blissfully ignorant, Lil Baby threw his fans a curveball with new track “The Bigger Picture.” Practically broadcast live from Atlanta’s demonstrations, everything from its powerful title to its track length that exceeds anything on his recent album to his description of how “they shootin’ protesters with these rubber bullets, they regular people I know that they feel it,” proves that when push comes to shove, hip-hop should always use its platform for something more, regardless of who it alienates. And in Lil Baby’s case, it also painted the chart-topping artist in a more multitudinous light than ever before.

By refusing to pigeonhole themselves as political, non-political, or anything in between, hip-hop’s solidarity with the change in the air wields more power than ever. Holding court as popular music’s leading force, the genre, when used purposefully, has the capacity to be the most far reaching anti-racist weapon available. And at a time where discrimination emits from the highest corridors of power, rappers confronting systemic hatred with a broad lens or as crisis response disseminates the message with more impact than books or social media campaigns ever could.

As a result, everyone from RTJ to Lil Baby and countless others have exemplified a new era where defiance is woven into the fabric of their artistry. While the world actively combats intolerance, hip-hop’s finest are doing their part by dutifully informing audiences that anyone can listen, just don’t expect to be pandered to.

[officielph]

150506: Vol.12 No.126

2015년 5월 6일 (토) GZB의 다이어리126편

Gil Scott Heron’s powerful voice announces ❝THE REVOLUTION WILL NOT BE TELEVISED,❞ whilst the camera pans on an apparent wasteland. A humanoid creature struggles to emerge from the dust, a Heron-inspired voice yells that ❝THE REVOLUTION IS HERE,❞ and G-DRAGON, standing in the centre of a Zion-like structure as if to address its denizens, begins, ❝THIS IS MY COUP D'ÉTAT···❞ With that, the muzik video for G-DRAGON's ❝COUP D'ÉTAT,❞ the title single from his new album und apparently his first shot at a global takeover, begins. It is a vivid three minute, twenty-two second journey to the the shadowy side of G-DRAGON’s visual imagination. With the help of American collaborators Diplo and Baauer, G-DRAGON steps away from the hyper sound of ❝크래용❞ and ❝미치GO❞ to explore a darker sound. At this stage, no one would be surprised if G-DRAGON had been listening to Nine Inch Nails, and given his prolific artistic interests, it probably would be surprising if he hasn’t been for years. But lest anyone worry that he has stepped away from his hiphop roots, one listen to the lyrics, and it’s clear that G-DRAGON knows where he came from. And it seems that, now, he knows what he’s about. The first splash of colour besides blacks, greys, beiges and whites is femme figurines dressed and blindfolded in blood red, dancing beside lifeless trees. G-DRAGON raps, ❝I'M SO FLY, I'M SCARY F-KILLA GORILLA THAT STEALS GIRLS' HEARTS,❞ as he steps in front of the helpless creatures, the area over his heart blood stained, although his white shirt remains intact. Immediately afterward, he says, ❝BANG BANG BANG,❞ whilst looking us in the eye. This is the first opportunity to check out his face and hair style choices. The face is pale; the eyeliner is heavy. The hair is white and black. This level of attention to detail is not unusual; extreme attention to the little things is G-DRAGON’s modus operandi. Even so, in this muzik video it feels like it’s been taken to a whole new level. The artist wants his message to be multidimensional and total so that the audience is not just entertained but is also forced to reckon with the message he’s trying to send.

It’s easy to say that the video represents a critique of the Cult of Celebrity. We see that in the repetition of the telegraph／radio scene from the muzik video for ❝크래용❞ this time with shadows in the background trying to get into the booth with G-DRAGON, who continues to deliver his lines with a stone cold look on his face. This is also where the lyrics really start to take off. He brags, ❝I EARN MONEY WITH MY TEETH WITH MY ONE SONG.❞ Even so, the look on his face says that he’s immune to the demands of the crowd now. He knows they’re back there, and he thinks he can do what he wants and the crowd will eat it up. Looking at how the new album is charting, he’s not wrong, at least not right now.

But he doesn’t stop there. This is his coup d’état, his takeover, after all. After appearing to be cracking under the weight of all he carries, G-DRAGON begins to transform. He straightens out his tie and then he appears in a ski mask, standing in front of the artistic works of New York-based muralist, Harif Guzman, who created them specially for G-DRAGON’s production. However, the transformation is incomplete, and G-DRAGON finds himself stuck on a table, surrounded by blindfolded women holding microphones und cameras. They are confusedly trying to get something, anything from their subject, who they can’t quite see. It is at this point that we see all of the white masks from G-DRAGON’s Hearbreaker era, and they are crying black tears. Something inside is trapped and trying to break out. Removing one white mask from his face, a shadow GD is revealed. It is certain that at least one viewer was relieved to find that the ❝blackface incident❞ of last month was in fact not intended to be blackface. That said, the impact of the visual is not so paramount that it was worth the secrecy that YG and G-DRAGON insisted on maintaining. Nonetheless, in context of the rest of the video, the image represents the apex of G-DRAGON’s experience of trying to live his dreams in a world that has its own ideas about him. From that point on, there is nothing to do but break out, and that is exactly what the struggling humanoid from the beginning starts to do. Viewers may recognise that the humanoid shares G-DRAGON’s tattoos. He begins to tear off his skin, revealing the true human underneath. This is him, rising up, throwing a rock at any barrier placed in front of him, tearing it down, being born anew, ready to take over if it’s necessary. MESSAGE RECEIVED: The path to success is not straight forward, and G-DRAGON will do whatever it takes to be the artist that he envisions, even if it requires a coup d’état. He ends the video as a red ninja, red flags flying behind him, giving the audience a look that says he will be taking no prisoners. Much has been made about what the next big western crossover from KPOP will be. If you’ve watched this muzik video, then you’ve probably seen it. Neither this song, nor this video in particular, are going to be the next ❝강남 스타일,❞ but going crazy viral is not the only way to cross over. Instead, this track is part of an album long assault at a grassroots level. Diplo and Baauer fans will be taking note and so will fans of Missy Elliott, who appears elsewhere on the album. Old school hiphop heads will recognise the shout out in ❝COUP❞ to Snoop Dogg (OK, Snoop Lion), an artist who is part of the rap canon. G-DRAGON's coup isn’t just about artistic control in his own life. He’s coming for us. For our ears, and our eyes. He’s delivering the truth. As he says, ❝THIS IS A GOSPEL,❞ and it’s our job to say, ❝AMEN.❞

[nightbuzz-blog1]

Night Buzz

Exciting New Female Pop Music Artists

The Way Brand New Female Pop Music Artists Are Creating A Brand New Pop Era

The pop music industry is taking on new female pop music artists that are and forming the world of pop in a whole new way. It's time to have a look at how the new female audio artists are shaping the business, as well as the pop ladies who are breaking those boundaries.

As the years went by, music has taken a new course. You may observe the shift in music televisions and you can listen to it on the radio. Artists like Lady Gaga, Ke$ha, and Beyonce are only some of the new female music artists who are taking the music world by storm and at precisely the same time shaping the entire pop culture around their manner of sound. They are establishing a new route for pop and they're leading young future brand new female pop audio artists in the process. To tell the truth, they may be the last possibility that the pop genre has.

New Female Pop Music Artists and The Industry

We all know that the music industry is one of the biggest and the most immune businesses there are in the world. They have mastered the strategies of creating music, documenting it, and distributing it to the masses. They tell us what's popular, unlike a few years ago when new female music artists - and guys alike - were actually famous for their hard work and talents. If the radio station couldn't afford fresh new pop music, then they seemed for local and unsigned artists' songs - most of those being the most alluring pop music girls out there today - both female soloists, and bands alike.

These days, the music industry is striving hard to keep what they had built, and in precisely the same time they are struggling to fight piracy. Since the styles of music change during the years, the sector has also suffered its own ups and downs, and today, the expense of music production and production has decreased as well as the expense of distribution and promotion.

Pop Music Ladies - A Bit Of History

In the last couple of decades a great deal of new genres have grown, and the industry has known them "micro-genres". Lots of them are combination's of existing music styles. As an instance, the brand new genre ska is described as a fast punk with some Jamaican inspiration. Other micro-genres consist of Nu-metal, which combined hip-hop and hardcore into a song.

The rise and fame of those micro-genres was the start of the way the Internet changed the music industry. These days, it's extremely difficult to stereotype listeners, because you no longer needed to be portion of a single genre-you can now listen to both kinds and much more. Children who listen to metal and hardcore may also listen to house music any time they want. The Internet has also made it possible for everyone to discover new songs with only a click of a mouse.

Today it is clear that the industry is taking on a new wave of female pop music artists and talents who focus more on their appearance rather than their music. They've taken control of the pop culture and they now decide what is "sexy" and what isn't. A decade ago, it wasn't like this.

New Female Pop Music Artists Leading The Way

Pop stars such as Lady Gaga, Ke$ha, and Beyonce are letting other new female pop songs artists have a run for their money. They've created numerous songs that have made its way through the top charts. Although they dress In an odd way, their lovers know that this is a new era - one to be possessed my pop music girls, and this is the newest pop culture.

However, other than just paving the way for prospective new female music artists to the new era of pop culture, these musicians are showing the audio industry that one thing never changes-artists still write in their own experiences in life. Their songs still have that substance, and they still like to add personal stories and experiences as inspiration for their own songs. This makes their music even more close to the hearts of their fans because they can relate to exactly what their favourite artists sing about.

You Are Right To Wish More Original New Female Music Artists!

But one thing is always right and most significant- me and you as the fans. All of the artists indicate, the fans know what they want. Despite what many record labels and music directors may make of this change that you as fans are asking of these, there is no debate that YOU as a fan are correct to love originality, uniqueness and personality in fresh female pop music musicians, and the guys of pop equally.

Pop music is audio that is actually contemporary music. Today whatever music you hear, songs that's moving with the times, all it's pop music. Fifty five years before, the music which was contemporary in that age was also pop along with the dads of pop, Bob Dylan etc dwelt. But now's music can also be called pop, so pop is actually a genre of contemporary music throughout all ages, which can be flexible enough to change its shape from one to another and still maintain some integrity.

That means you can have rock, jazz, blues, R&B, dancing numbers and many other genres influencing this one particular genre of music. Sometimes even elements of country and folk music was found to be within pop. The basic trick that pop music undertakes to keep its prevalence is utilize melody that would stay in the minds of individuals. They do not use catchy tunes but tunes and rhythm which compels you to remember it. Also, the songs are barely full of lots of music, there's 1 speed which goes through the whole song and does not change. But this is an element which has attracted much criticism around the tune. Critics often say that soda is too simple and therefore maybe worthless.

Nevertheless, popular music is characterized by what people love in general and what they have full access to. It is a social representation, a social category of its own and it is not just another kind of music. It's a music that's intended to be heard again and again. This happens with me always, Matthias Matt Zemlin whenever I hear any pop song for the first time I don't really enjoy it since it seems to be too simple. But as I listen again and it kind of grows on me and I am hardly able to get rid of it. Now pop is simply popular music and once it grows on you, you barely think of any other music.

The very best thing about pop up is the fact that it is a massive music industry. The production and sale of pop is by far more than any other form of music. The rhythm, the simplicity, the beats, everything combine to produce the magic that we call popup. Mostly, all the best selling tunes are such of the pop genre and quite seldom does other Genres make it on the top of the top ten listing.

With time nevertheless pop songs has changed a whole lot. With the coming of the various recording devices that can now create a variety of forms of sounds pop has entered a new era. These recording devices and also the ability to modify the tonal quality of listeners has really set pop aside from the several different kinds of musical genres such as jazz etc..

Pop music is the most amazing and favorite genre of music. This genre is very famous and is acclaimed world wide. It is the music style of contemporary times and has led to a wonderful revolution in the world of music. It's the wonderful category of music that has broken various barriers of traditional and traditional music. This music is outside the formal schooling in music or typical music styles. The only real reason of the immense achievement of this sort of music is the way it can muse and amuse people.

The audio is created with a goal to attract and appeal the masses. Anyone and everyone is able to enjoy this music with no expert and connoisseur of songs. It focuses more on entertainment than the artistic and expert conceptualizations. This music does not highlight on the some particular music form. But, it only provides the artist freedom to experiment with the several types of music and express them in their particular styles.

The genre is immensely famous amongst the kids and the teens. Its design is now the favourite of the masses due to its flexibility. People are able to easily comprehend it and relate to it. Pop tunes are written with sheer objective of entertaining the viewer. This music genre can't be typified or categorized according to one's style. This exquisite style includes of different moods and it's sheer expression of the artist's imagination that matters the most.

Pop Music is gaining popularity since 1950's that this fantastic music style has overshadowed all of its contemporaries. Played with the typical musical instruments like Guitar, Drum and electronic keyboards, the audio is all about higher spiritedness and fun. These music rings are extremely famous and individuals throughout the globe admire them. The orchestra and the singers together comprise the pop ring.

Many popular artistes of the music genre have ruled the music world. Its fans keenly await the launch of the records from their favourite artistes. The Beetles has been one of the very popular music bands in the world. They have mastered the music charts and people have loved their music crazily. Through the years the singers, song writers and the artists played a vital part in the growth and growth of the genre. Everyone loves to listen to this incredible music genre.

We are the World, Careless Whisper and Footloose are some of the very rocking strikes of the 1980s. It was the age where the genre gained its greatest position. In 1990s, the audio gained new heights with feminine artistes coming up with awesome pop music movies and songs. There were some magnificent female singles released that outclassed the male performances. Vogue, The energy of Love, Hold and the Hero are the few outstanding numbers.

Madonna, Shania Twain etc were some of the most revered pop stars of the last ten years. Elton John came up with a few of the most astonishing Pop classics that gave the audio immense popularity. Michael Jackson gained the best fan following with his distinctive design and amazing pop numbers.

In the current times, the pop songs has dominated the music world. No other genre Is popular and admired by the people. With youthful pop stars coming with advanced and attractive numbers, this music is all set to attain new heights. Britney Spears is one of the hottest pop icons of the new generation. Her mortal music movies like Oops! I did it Again, I'm a Slave For You etc have made her the most desirable Pop icon amongst the teenagers. Beyonce Knowles' Crazy in Love, White Flag along with other strikes have also rocked the music fans the world over.

Jennifer Lopez, Boy Zone, Spice Girls along with other pop stars have given excellent amusement to the people across the world. Shakira has set a new fad with her personal style with the smashing strikes like Hips Don't bend and Whenever, Wherever.

Hip hop based pop music movie made waves, with great hits like Hot in Herre, Don't Phunk With my Heart, India Club and Chocolate Shop. Latin Pop additionally became significantly popular with all the wonderful hit by Enrique - Hero. The Ketchup Song was also a great hit in 2002. Pop music has enthralled people throughout the globe. Everyone should listen to pop songs to get good entertainment and rejuvenation

Though we should be seeing great new male artists popping up here and there, and boyband fans will always remain boyband lovers, from where I am looking, female music artists are destined for both topping charts and pushing the boundaries of pop music this season!

Have a look at the scene to get female music artists right now - the likes of Taylor swift, Rihanna, and Lady Gaga, all solo guys, completely eclipsing any type or male behave, and bringing some of the edgiest and punchiest fresh pop songs around.

But who to watch for sexy new tunes?

A number of other gifted female pop audio artists are all set to take the stage in 2010 - you will have heard vibrant and fun tracks from Ke$ha, whilst the well known first ladies of pop are dominating individuals playlists once more.

Can anyone really tell me they did not like Beyonce's completely new image, and how feisty alter-ego Sasha Fierce really came through in her songs?

Madonna has once again taken the pop world by storm, increasing the attention on female pop music musicians by pairing forces together with the infamous Britney - who's thought to be releasing some new material this March!

So - you've been seeing and listening to the proof for some time today - lady pop music artists are the ones to keep your eye if you want to be the first to hear brand-new pop music.

But if you're a true pop fan, and want to encourage the ladies in climbing up the music charts, why don't you go a bit further to make sure you're the first person in the know about who's the next female music artists in the top will probably be before they get there - utilize what's infront of you, the net!

How do I get my hands on their albums first?

A simple Google search for fresh female pop audio artists, or even a browse around Myspace is all that's required for you to discover, listen to - and also contact - exciting brand new up and coming talent in the pop market.

This is a great way to do it, and also my personal favourite - only because when your buddies are listening to their tunes on the radio, you'll have already had a few personal chats with the new favourite female. Trust me, it's a good feeling!

[nofomoartworld]

Hyperallergic: Seeing 1970s Italy Through Its Subversive Public Broadcasting Network

Raffaella Carrà, Canzonissima 1970 (1970) (courtesy Rai Teche)

MILAN — Italy, 1978. TV personality Raffaella Carrà reaches the top of several European and South American charts with her hit “Tanti Auguri,” a song extolling free love, whose most famous line can be translated into something like, “It’s fantastic to make love, all the way from northern to southern Italy.”

In May of the same year, the Red Brigades, a left-wing terrorist organization, kidnapped and murdered Christian Democratic politician and former Prime Minister Aldo Moro. Images of his corpse found on a street in the center of Rome are broadcast on television.

Between the radical 1960s and the hedonistic 1980s, Italy went through a traumatic period of political turmoil and social change. The decade known as Years of Lead (Anni di Piombo) was marked by many heinous acts of terrorism, from the bombing of Piazza Fontana in Milan (1969) to the massacre at Bologna’s train station (1980). Going against a traditionally patriarchal and catholic society, feminists fought many difficult battles during this period, obtaining a divorce law in 1970 and achieving the legalization of abortion in 1978.

Throughout it all, Italian television informed the public about all the news, as well as providing endless entertainment to the masses.

Filmmaker and artist Francesco Vezzoli has rounded up the contradictions of that decade as seen through the television screen in the exhibition TV 70: Francesco Vezzoli Guarda la Rai, currently on view at Fondazione Prada, Milan. In his characteristically playful way, the artist has brought together works of art and archival material from TV programs of the 1970s, melding them into a personal narration of the culture, politics, and entertainment of the period.

Although the first private TV stations were starting to emerge, during the 1970s Italian TV was still dominated by Rai (Radiotelevisione Italiana), the country’s national public broadcasting company. Rai stood out for its high-quality content as well as excellent production values and a great deal of experimentation. The company hired some of the best intellectuals and film directors of the time as authors and collaborators, from poet Giuseppe Ungaretti to directors Federico Fellini and Michelangelo Antonioni. It was a television network that benefited from a rare freedom of expression, opening up subjects and themes that had previously been excluded from representation, such as women and young people, physicality and sex.

Oreste del Buono, Federico Fellini, and Vittorio Bruno at Cinema 70 (1970) (image courtesy Rai Teche)

In the exhibition catalogue, Vezzoli describes his exhibition with an acute statement:

This project has been a voyage into my past but also into the collective memory of a generation whose sensibilities were shaped in front of a television screen. In Italy, 1970s television was like a sung mass in the cathedral: In an era without video tape recorders, it was an event you either showed up for or missed. And this was true as much for the news as for entertainment.

Conceptually, TV 70 is divided into two gendered halves. The first part, visually dominated by black-and-white — color TV would not come to Italy until 1977 — showcases the male dominance of culture and information of the time. Visitors enter the show by stepping into a sanctuary dedicated to the established 1970s art world. Dramatically lit works by the likes of Giorgio de Chirico, Michelangelo Pistoletto, Alighiero Boetti, and Alberto Burri are spaced out amid projections of historic documentaries about those artists. In a tongue-in-cheek move, these films — one for each artist — are all playing at once, creating a cacophony that well represents the struggle for attention, the egocentrism, and the machismo that distinguished these men and their milieu.

TV 70: Francesco Vezzoli guarda la Rai, installation view (photo by Delfino Sisto Legnani and Marco Cappelletti; courtesy Fondazione Prada)

Vezzoli reminds visitors of the extremely experimental character of Italian TV during the 1970s through Fabio Mauri’s Il televisore che piange (The Crying Television, 1972). In what Mauri calls a “happening,” the artist leaves the TV screen blank for 12 seconds, accompanied only by the sound of crying and lamentations. At the end of it, the artist appears to explain the performance, in a very didactic way, as a symbolic action addressing the importance of the television screen, giving a great lesson about clarity to any TV art critics to come.

Moving forward through the exhibit, the heavy atmosphere of the Years of Lead is represented by a black corridor full of monitors transmitting news of the tragedies and terrorist attacks that marked 1970s Italy. One after another, the viewer is assailed by news of kidnappings, killing of magistrates, jurists, and journalists, and train bombings. This time, the overlapping audios enhance the sense of claustrophobia and disorientation of the time. One can’t help but notice the markedly male presence on the TV screens — not only because the broadcasters were all male, but because the objects of all these atrocities were male as well, from former Prime minister Aldo Moro to writer Pier Paolo Pasolini.

TV 70: Francesco Vezzoli guarda la Rai, installation view (photo by Delfino Sisto Legnani and Marco Cappelletti; courtesy Fondazione Prada)

Leaving this corridor, the exhibition continues to its second half, which is distinguished by a strong female component and a lighter tone. After a room where TV extracts about Italian feminists and civil rights are accompanied by a selection of works by Carla Accardi, one of the few female Italian artists to reach a certain degree of notoriety, Vezzoli gives space to Italian TV’s historical divas. From this point on, TV 70 becomes a joyful and colorful reunion of personalities who are still dear to the public today.

An extract from a popular episode of Milleluci (1974), the first Rai variety show to be presented by two women, shows hosts Raffaella Carrà and Mina next to the Kessler twins, singing a song making fun of male sexual appetite. Only four years later, Ilona Staller, a.k.a. Cicciolina — the first woman to bare her breasts on Italian national TV — entertained her public dressed up as a provocative nymph.

Vezzoli draws deeply  from the wealth of Rai’s historical archives, setting mental associations and recollections free, unapologetically mixing high and low culture. More importantly, he gives space to forgotten or lesser-known female artists who tirelessly worked to affirm themselves in a hyper-masculine culture.

Singer Patty Pravo appears in all her androginity in a music clip from 1978 that feels very contemporary. In the same room, Lisetta Carmi’s photographs from the series I Travestiti document the life of transgender people in Genoa as early as 1965, Grace Jones showers in a bikini while singing the popular Neapolitan song “Anema e core,” and photographic portraits of famous actresses, writers, and socialites by Elisabetta Catalano make a photographic catalogue of female personalities of the time.

TV 70: Francesco Vezzoli guarda la Rai, installation view (photo Delfino Sisto Legnani and Marco Cappelletti; courtesy Fondazione Prada)

At the end of the exhibition, Vezzoli’s tribute to Italian TV sublimates channel-surfing in a surreal crafted video collage featuring, among others, Mina, Raffaella Carrà and Mother Teresa, French singer and onetime Salvador Dalí muse Amanda Lear, actress Gina Lollobrigida, and the late theatre actor Paolo Poli, famous for his witty performances in En travesti.

While it’s clear that Vezzoli had fun working on this exhibition, the message behind it is less immediate. With his video montages, the artist has created not only a powerful homage to the history of Rai but has also left some hints to his personal poetics and system of beliefs. TV 70 samples society in a particular place and time, showing the established worlds of art and politics, rigid in their structures of power and representation, in total contrast with entertainment, the key to accessing the underground and progressive elements of culture.

Ilona Staller, C’era due volte (1980) (courtesy Rai Teche)

Certain revolutions happen slowly, far from the centers of power, at the margins of established culture. Concealed under the label of “entertainment,” Carrà’s moves, Mina’s song lyrics, and the myriad other similar expressions on TV were, in truth, absolutely radical and forcefully subversive, contributing to changing and shaping Italy’s modern sensibility.

TV 70: Francesco Vezzoli guarda la Rai continues at Fondazione Prada (Largo Isarco, 2, 20139 Milano) through September 24.

The post Seeing 1970s Italy Through Its Subversive Public Broadcasting Network appeared first on Hyperallergic.

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[ricardosousalemos]

Look Blue Go Purple: Still Bewitched

In the late 1970s, punk swept through the UK and washed away any remaining mop-top mods. In Dunedin, New Zealand—among the furthest possible cities from London—kiwi punks applied this self-sufficient ethos and wrote pop songs. Their lo-fi jangle pulled from the Byrds’ ’60s pop melodies, the psychedelia of Pink Floyd circa Syd Barrett, and the Velvet Underground’s corporeal dronings. It would be dubbed the historically influential Dunedin sound after a 1982 compilation from its most iconic label, Flying Nun Records. Two of the bands on that comp, the Chills and the Verlaines, along with their Flying Nun labelmates the Bats and the Clean, would come to define New Zealand’s mid-1980s indie rock scene. Amid all these humbly named acts, Look Blue Go Purple—Francisca Griffin (formerly Kathy Bull), Norma O’Malley, Kath Webster, Denise Roughan, and Lesley Paris—were bound to stand out.

Like their optimistic, kaleidoscopic moniker suggests, Look Blue Go Purple poured vivacity into a scene that was already chock full of cheery, sparkling songs. But unlike a majority of their peers, the quintet never released an LP, which prevented them from finding a foreign audience despite their mainstream success on the New Zealand pop charts. Still Bewitched, a recent compilation of Look Blue Go Purple’s three EPs and unreleased live rarities, promises to expose a new crowd to the band’s enchanting style.

After forming in 1983, Look Blue Go Purple debuted with a tight, distinct sound on 1985’s Bewitched EP. The five women fused the gentle guitar pop that was then well-established by their Dunedin/Flying Nun labelmates with the post-punk experimentation of the Slits and the Raincoats, and to a lesser extent, Swell Maps and Television. Three of Bewitched’s four tracks each focus on a different sound: the whistling synths of “Safety in Crosswords,” the new-age flute and staggered drumbeat of “Vain Hopes,” and the cloudy chill of “As Does the Sun.” But it’s “Circumspect Penelope” that gathers these elements together and affirms Bewitched’s pleasant distance. “She’s been waiting 20 years/And you just walk in/Telling stories of the sea/She should hate you, your Penelope,” the band bitterly scold The Odyssey’s titular character, whose wife has been waiting years for Odysseus’ return. Thanks to the crystalline sound of O’Malley’s organ, Webster and Roughan’s saccharine guitars, and the tight interplay between Griffin’s bass and Paris’ quick crashing drumbeat, Look Blue Go Purple’s condemnation is by far the poppiest, catchiest track on the EP. But their layered vocal harmonies seem to be the murmurs of sirens from a world beyond.

When Look Blue Go Purple returned the next year for LBGPEP2, the band shed their winter coats for a bright new life. A whimsical song like “Cactus Cat” would have been a shock on the staunchly post-punk Bewitched, but on the LBGPEP2 it feels right at home. “Cactus Cat”’s sun-streaked bubblegum style flows into “Grace,” a hypnotic, lilting tune about a girl whose beauty has faded from her namesake to something far more foul. “100 Times” and “Winged Rumor” recall Bewitched’s subdued mysticism thanks to the former’s hushed, airy chorus and the latter’s reverential flute. But the gossamer feel of both songs give way to a ramshackle groove, something Bewitched’s songs never achieved. The spoken-word incantation “Hiawatha” is the band’s most new wave song, though its punctuations of shrill synths and howls surpass in imagination anything their peers were making.

“Cactus Cat” in particular propelled LBGPEP2 to No. 26 in New Zealand’s pop charts in January 1987. The band used the track’s popularity to address a topic that had haunted their press. At the end of the song’s succulent-stocked music video, an anonymous interviewer queries whether there are any difficulties being a female band. “Only the presumption that it means something, that it’s a bunch of females together,” says Webster. “But we just happen to be five musicians who get on well and play music together but it can be a hassle.” Look Blue Go Purple never labeled themselves as feminist, nor was the content of their music remotely political. The only people who seemed to find the band’s gender worth noting was the media; players in the New Zealand indie scene considered it a non-issue. Women “were very active participants in a very creative and politically active era, charged with post-sexual revolution and determination to create anything but typical male music,” says the Chills’ Martin Phillipps. That said, “[It’s] rock’n’roll, gender has got nothing to do with it,” Griffin concludes in the video.

Shortly after the release of 1987’s This Is This, Look Blue Go Purple broke up to pursue other personal and professional ventures (notably, Paris became the manager of Flying Nun). The quintet’s final release is their most indie pop record, and echoed the concurrent work of England’s C86 bands like the Shop Assistants and the Pastels. The bouncy “I Don't Want You Anyway” makes rejection seem fun while the docile “Year of the Tiger” could be a Sarah Records cut. Perhaps because of its spare compositions, for the first time the band’s eloquent lyrics are placed in the limelight. “I’m a fool to believe in love and its channels/I’m a fool to believe in it at all,” Griffin sings on “In Your Favour.” But by the end of This Is This, Look Blue Go Purple fall into the same pattern as LBGPEP2 and return to the sleepy melancholy of their first EP.

Still Bewitched ends with seven unreleased live takes handpicked by the band from their final years—all originals except for an impassioned cover of folk singer Buffy Sainte-Marie’s “Codeine.” The most intriguing of these are the funky sleuthing “Spike” and “A Request,” which show the Raincoats’ abstract influence more discernibly than any of their official releases. The inclusion of these tracks on the compilation is a refreshing peek at what Look Blue Go Purple sounded like in their prime: a little mythical, a little goofy, overflowing with wistful indie pop hooks and eloquence. Without Look Blue Go Purple, any definition of the Dunedin sound is insufficient.

[jazzworldquest-blog]

USA: Sarah Partridge Expands Jazz Vocal Repertoire on "Bright Lights & Promises: Redefining Janis Ian," Due April 21 from Origin Records

Sarah Partridge Expands Jazz Vocal Repertoire On "Brights Lights & Pomises: Redefining Janis Ian," Set for Release April 21 By Origin Records

   Partridge's 5th Album & 2nd for Origin Pays Homage to the Legendary Folk Singer With a Baker's Dozen of Ian's Songs, Two Co-Written with Partridge, Arranged in Jazz Settings

CD Release Shows at The Bitter End, NYC, May 11 Trumpets, Montclair, NJ, May 20

     March 31, 2017

  Vocalist Sarah Partridge introduced an impressive body of original compositions on her 2015 Origin Records release I'd Never Thought I'd Be Here, but for her new project, she wanted to celebrate a singer/songwriter outside of her own genre and beyond the Great American Songbook. On Bright Lights & Promises: Redefining Janis Ian, her 5th album and 2nd for Origin Records, Partridge reimagines 11 well- and lesser-known works from the legendary singer/songwriter's discography, and also co-wrote two with Ian. The new CD will be released April 21.

"To pay tribute to a folk artist like Janis was extremely interesting to me," says Partridge. "In her case, her very early songwriting seemed influenced by jazz, and I saw real possibilities for a reimagining of some of that work. We connected with each other last year through the Recording Academy and when I mentioned that I was thinking of doing an album of her songs, she lit up. She said she'd like to be helpful to me, and there it began. I don't think I've ever met a more generous artist."

  Ian exploded on the pop music scene in 1967's Summer of Love as a precociously talented singer/songwriter confronting the dark side of American life. She was just 14 when, in 1965, she wrote and recorded "Society's Child (Baby I've Been Thinking)," her single about a young interracial couple ripped apart by prejudice. Championed by Leonard Bernstein two years later on his CBS-TV special Inside Pop: The Rock Revolution, the single went gold and established Ian as one of the era's most promising young performers. She recorded several critically praised albums for Verve over the next few years but didn't break through again until 1975's chart-topping Between the Lines, featuring the Grammy-winning single "At Seventeen," a song she performed that year on the debut broadcast of Saturday Night Live (and which is included on Bright Lights & Promises).

  As with her previous Origin outing, Partridge is joined on Bright Lights & Promises by her stellar working band of pianist Allen Farnham, bassist Bill Moring, and drummer Tim Horner. Trombonist Ben Williams, reed virtuoso Scott Robinson, and guitarist Paul Meyers are also back in the fold. Farnham, who produced the album, arranged 11 of the songs; two were arranged by Horner. Janis Ianherself provides vocals on the wry and briskly swinging opening track "A Quarter Past Heartache," which the women co-wrote.

  Raised in Boston and Birmingham, AL, Sarah Partridge grew up listening to her father's albums of Ella Fitzgerald, Dakota Staton, Irene Kral, and Sarah Vaughan. But she was drawn to acting and ended up majoring in theater at Northwestern University. After graduating in 1982,she worked around Chicago, and in 1983 landed her first feature role in Tom Cruise's breakout hit Risky Business. Relocating to L.A. in 1984, she worked steadily in film and television, carving out a niche doing voice-overs. Out with friends one night at the Improv, she accepted their dare to take a turn at karaoke and delivered a stunning rendition of "Summertime." The impromptu performance caught the ear of a booker, who promptly hired her to sing in a concert with the top tier of L.A. jazz musicians. It was a successful gig that rekindled a long-buried dream.

  Partridge spent years honing her technique in L.A. and New York City, where she moved in 1994, and instantly bonded with legendary trumpeter Doc Cheatham, "the first musician I played with in New York." Attending one of his regular Sunday brunch performances at Sweet Basil, Partridge's husband convinced pianist Chuck Folds to let her sit in. Her version of "Every Day I Have the Blues" went over well and Cheatham told her "You can come anytime you want." "After that, I sat in regularly and we did some gigs together," Partridge recalls. "I learned so much from him, just seeing the obsessive dedication he had. He was a real inspiration."

Partridge released her widely-acclaimed debut I'll Be Easy to Find in 1998 ("She's a pleasure to hear in any emotional guise, whether one of regret or exaltation" -- Billboard) featuring jazz greats Frank Wess, Bucky Pizzarelli, and Gene Bertoncini. She has grown exponentially with each successive recording: Blame It on My Youth, 2004; You Are There, Songs for My Father, 2006; Perspective, 2010; and I Never Thought I'd Be Here, 2015. 

  With her rich, fine-textured sound and rhythmically acute phrasing, Sarah Partridge puts an irrepressible jazz stamp on everything she sings, and Bright Lights & Promises: Redefining Janis Ian presents a portrait of an artist fully in command of her craft.

  Partridge and her band will be performing two CD release shows in May: 5/11 at New York's Bitter End (where Janis Ian performed nearly 50 years ago), and 5/20 at Trumpets in Montclair, NJ.

    Sarah Partridge with Janis Ian: "A Quarter Past Heartache"

  Web Site: sarahpartridge.com

     Media Contact:

Terri Hinte hudba@sbcglobal.net 510-234-8781

  via Blogger http://ift.tt/2nKAm74

[blackkudos]

Gil Scott-Heron

Gilbert (Gil) Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His music, most notably on Pieces of a Man and Winter in America in the early 1970s, influenced and helped engender later African-American music genres such as hip hop and neo soul. In fact, Scott-Heron himself is considered by many to be the first rapper/MC ever, a recognition also shared by fellow American MC Coke La Rock.

Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012.

His recording work received much critical acclaim, especially one of his best-known compositions "The Revolution Will Not Be Televised". Gil Scott-Heron received a Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture that officially opened on Sept. 24, 2016 on the National Mall, and in an NMAAHC publication, Dream a World Anew. During the museum's opening ceremonies, the Sylvan Theater on the monument grounds was temporarily named the Gil Scott-Heron stage.

Early years

Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott-Heron, was an opera singer who performed with the New York Oratorio Society. Scott-Heron's father, Gil Heron, nicknamed "The Black Arrow", was a Jamaican football player in the 1950s who became the first black man to play for Celtic Football Club in Glasgow. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School after impressing the head of the English department with one of his writings and earning a full scholarship. As one of five black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him, "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.

After completing his secondary education, Scott-Heron enrolled at Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement. The Last Poets, a group associated with the Black Arts Movement performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?" Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.

Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at Federal City College in Washington, D.C. while maintaining his music career.

Recording career

Scott-Heron began his recording career in 1970 with the LP Small Talk at 125th and Lenox. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.

Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice, "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."

1974 saw another LP collaboration with Brian Jackson, the critically acclaimed opus Winter in America, with Bob Adams on drums and Danny Bowens on bass. The album contained Scott-Heron's most cohesive material and featured more of Jackson's creative input than his previous albums had. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. 1975 saw the release of the single "Johannesburg", a rallying cry to the issue of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.

A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1979. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.

In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song, "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.

Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs; Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.

Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line, "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh". The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. Message to the Messengers was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:

They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.

Later years

Prison terms and more performing

In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.

On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.

After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.

Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.

In April 2009 on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.

In 2010 Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.

I'm New Here

Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.

The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".

Scott-Heron described himself as a mere participant in an interview with The New Yorker:

This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.

The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.

In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.

Death

Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a European trip. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia. As of May 2015, the cause of Scott-Heron's death was not announced.

He is survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and who was a member of Lost Boyz.

Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.

After Scott-Heron's death Malik Al Nasir told his story to The Guardian's Simon Hattenstone of the kindness that Scott-Heron had showed Malik throughout his adult life since meeting the poet back stage at a gig in Liverpool in 1984. The BBC World Service covered the story on their Outlook program with Matthew Bannister, which took the story global. It was subsequently covered in many other mediums such as BBC Radio 4's Saturday Live, where jazz musician Al Jarreau paid tribute to Gil, and was mentioned the U.S. edition of Rolling Stone and The Huffington Post. Malik & the O.G's performed a tribute to Scott-Heron at the Liverpool International Music Festival in 2013 with jazz composer Orphy Robinson of The Jazz Warriors and Rod Youngs from Gil's band The Amnesia Express. Another tribute was performed at St. Georges Hall in Liverpool on August 27, 2015, called "The Revolution will be Live!", curated by Malik Al Nasir and Richard McGinnis for Yesternight Productions. The event featured Talib Kweli, Aswad, The Christians, Malik & the O.G's, Sophia Ben-Yousef and Cleveland Watkiss as well as DJ 2Kind and poet, actor, and radio DJ Craig Charles. The tribute was the opening event for 2015 Liverpool International Music Festival.

In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.

Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.

Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.

Scott-Heron's memoir, The Last Holiday, was released in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:

The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.

Scott-Heron's estate

At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley is not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate. According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron introduced me [Rackley] from the stage as his son." .

In 2011 Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but, As of March 2016, further information on the matter is not publicly available. However, Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016.

According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. During the time Scott-Heron's 1994 album Spirits was being produced, he was living in Brooklyn, New York, with Nia and her mother.

Influence

Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".

Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:

Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".

Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:

Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.

Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:

In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".

Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".

In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.

Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]". As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.

Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Abdul Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".

Filmography

Saturday Night Live, musical guest, December 13, 1975.

Black Wax (1982). Directed by Robert Mugge.

5 Sides of a Coin (2004). Directed by Paul Kell

The Revolution Will Not Be Televised (2005). Directed by Don Letts for BBC.

Word Up (2005). Directed by Malik Al Nasir for Fore-Word Press.

The Paris Concert (2007).

Tales of the Amnesia Express Live at the Town & Country.

Wikipedia

[blackkudos]

Richie Havens

Richard Pierce Havens (January 21, 1941 – April 22, 2013) was an American singer-songwriter and guitarist. His music encompassed elements of folk, soul, and rhythm and blues. He had an intense and rhythmic guitar style (often in open tunings), and played soulful covers of pop and folk songs. He was the opening act at Woodstock.

Life and career

Early life

Born in Bedford–Stuyvesant, Brooklyn, Havens was the oldest of nine children. He was of Native American (Blackfoot) descent on his father's side and of the British West Indies on his mother's. His grandfather was Blackfoot of the Montana/South Dakota area. Havens's grandfather and great-uncle joined Buffalo Bill's Wild West Show, got off in New York City, and ended up on the Shinnecock Reservation in Long Island. Havens's grandfather got married, then moved to Brooklyn.

As a youth in Bedford-Stuyvesant, Havens began organizing his neighborhood friends into street corner doo-wop groups and, at age 16, was performing with the McCrea Gospel Singers.

Early career

At age 20, Havens left Brooklyn, seeking artistic stimulation in Greenwich Village. "I saw the Village as a place to escape to, in order to express yourself," he recalled. "I had first gone there during the beatnik days of the 1950s to perform poetry, then I drew portraits for two years and stayed up all night listening to folk music in the clubs. It took a while before I thought of picking up a guitar."

Havens's solo performances quickly spread beyond the Village folk circles. After cutting two records for Douglas Records, he signed on with Bob Dylan's manager, Albert Grossman, and landed a record deal with the Verve Folkways (later Verve Forecast) label. Verve released Mixed Bag in late 1966, which featured tracks such as "Handsome Johnny" (co-written by Havens and actor Louis Gossett Jr.), "Follow", and a cover of Bob Dylan's "Just Like a Woman". Havens released his first single, "No Opportunity Necessary", in 1967.

By 1969, he had released five more albums. Something Else Again (1968) became his first album to hit the Billboardcharts, and it pulled Mixed Bag back onto the charts. Two of those albums were unauthorized "exploitation albums" released by Douglas Records (or Douglas International):  Electric Havens (released June 1, 1968) and Richie Havens Record (1969).

Woodstock and rise in fame

Havens's live performances earned widespread notice. His Woodstock appearance in 1969 catapulted him into stardom and was a major turning point in his career. Despite Havens's own recollection that he performed for nearly three hours, the actual recording and setlist reflect that he played about fifty minutes. Havens recalled that he was told to continue playing because many artists scheduled to perform after him were delayed in reaching the festival location with highways at a virtual standstill. Havens recalled being called back for several encores. Having run out of tunes, he improvised a song based on the old spiritual "Motherless Child" that became "Freedom". In an interview with Cliff Smith, for Music-Room, he explained:

I'd already played every song I knew and I was stalling, asking for more guitar and mic, trying to think of something else to play – and then it just came to me ... The establishment was foolish enough to give us all this freedom and we used it in every way we could.

The subsequent Woodstock movie release helped Havens reach a worldwide audience. He also appeared two weeks later at the Isle of Wight Festival (in late August 1969).

Following the success of his Woodstock performance, Havens started his own record label, Stormy Forest, and released Stonehenge in 1970. Later that year came Alarm Clock, which included the George Harrison–penned hit single, "Here Comes the Sun". This was Havens's first album to reach Billboard's Top 30 Chart. Stormy Forest went on to release four more of his albums: The Great Blind Degree (1971), Live On Stage (1972), Portfolio (1973), and Mixed Bag II (1974). Memorable television appearances included performances on The Ed Sullivan Show and The Tonight Show Starring Johnny Carson. On the latter program, the audience reacted with such enthusiasm that, when the applause continued even after the commercial break, Carson asked Havens to return the following night.

Havens also began acting during the 1970s. He was featured in the original 1972 stage presentation of The Who's Tommy, as Othello in the 1974 film Catch My Soul, in Greased Lightning alongside Richard Pryor, and in Bob Dylan's Hearts of Fire.

Havens increasingly devoted his energies to educating young people about ecological issues. In the mid-1970s, he co-founded the Northwind Undersea Institute, an oceanographic children's museum on City Island in The Bronx. That, in turn, led to the creation of the Natural Guard, an organization Havens described as "...a way of helping kids learn that they can have a hands-on role in affecting the environment. Children study the land, water, and air in their own communities and see how they can make positive changes from something as simple as planting a garden in an abandoned lot."

In July 1978, he was a featured performer at the Benefit Concert for The Longest Walk, an American Indian spiritual walk from Alcatraz to Washington, D.C. affirming treaty rights, as a result of legislation that had been introduced to abrogate Indian treaties.

Branching out more into the media

During the 1980s and 1990s, Havens continued a world touring schedule and steadily released albums. The release of 1993's Resume, The Best of Richie Havens, on Rhino Records, collected his late 1960s and early 1970s recordings. In 1982, he composed and performed a promotional slogan for NBC's 1982–83 television season, entitled We're NBC, Just Watch Us Now. He also performed slogans for CBS and ABC, and recorded commercials for Amtrak (singing the slogan, "There's something about a train that's magic") and in 1985, for Coca-Cola. Havens also did corporate commercial work for Maxwell House Coffee, as well as sang "The Fabric of Our Lives" theme for the cotton industry. In 1982, he appeared at the UK's Glastonbury Festival, closing the show on the Sunday night.

In 1993, Havens performed at the inauguration of President Bill Clinton. Among the selections was the "Cotton" song, made famous by a series of television ads in the early 1990s. In 1999, Havens played at the Tibetan Freedom Concert for an audience of more than 100,000.

Havens also played a small role, as a character named Daze, in the film Street Hunter (1990), starring John Leguizamo.

Havens was the 20th living recipient of the Peace Abbey Courage of Conscience Award, presented in Sherborn, Massachusetts, on April 12, 1991.

Final years

In 2000, Havens teamed with the electronic music duo Groove Armada for the retro 1970s-style song, "Hands of Time". The song was featured on the soundtrack of the film Collateral; that song was also used in the films Domino, A Lot Like Love, and Tell No One. Havens was also featured on "Little By Little" and "Healing" on the band's third album, Goodbye Country.

In 2000, he published They Can't Hide Us Anymore, an autobiography co-written with Steve Davidowitz. Havens maintained his status as a folk icon and continued to tour. In 2002, he released Wishing Well, followed by the 2004 album Grace of the Sun.

In 2003, the National Music Council awarded Havens the American Eagle Award for his place as part of America's musical heritage and for providing "a rare and inspiring voice of eloquence, integrity and social responsibility."

On October 15, 2006, Havens was inducted into the Long Island Music Hall of Fame.

In 2007, Havens appeared as "Old Man Arvin" in the Todd Haynes film I'm Not There. In a classic front-porch jam scene, he is shown singing the Bob Dylan song "Tombstone Blues" with Marcus Carl Franklin and Tyrone Benskin. Havens' version of the song also appears on the I'm Not There soundtrack.

In February 2008, Havens performed at The Jazz Café in London, England. The performance and the man were described by Cliff Smith, reporting for Music-News as "Mesmerising, poetic, profound, funny...".

Havens was invited to perform at the 2008 Cannes Film Festival opening ceremony. He played "Freedom" at the request of the jury president, Sean Penn. Havens also performed at the London, Ontario, Blues Festival in July 2008.

In March 2008, Havens released a new studio album entitled, Nobody Left To Crown. The first single release was the country-tinged "The Key".

Havens appeared in the acclaimed 2009 film Soundtrack for a Revolution, which provided a general history of the modern Civil Rights Movement and featured modern artists performing many of the era's musical classics. In the film, Havens performed a haunting rendition of "Will the Circle Be Unbroken?".

On May 3, 2009, Havens performed at the fundraising concert in honor of Pete Seeger's 90th birthday. In June 2009, he performed at the fifth annual Mountain Jam Festival. The event, hosted by Allman Brothers Band and Gov't Mule guitarist Warren Haynes, was held at the Hunter Mountain Ski Resort in Hunter, New York. As is the tradition, the festival took place on the weekend following Memorial Day.

On June 20, 2009, Havens performed at the Clearwater Festival. On July 4, 2009, he performed at the Woodstock Tribute festival in Ramsey, New Jersey. On August 8, 2010, he performed at Musikfest 2010, at Foy Hall at Moravian College in Bethlehem, Pennsylvania.

Health Issues

In 2010, Havens underwent kidney surgery but did not recover fully enough to perform as he had before. In March 2012, he announced on his Facebook page that he would retire from touring after 45 years, due to health issues.

Death

On April 22, 2013, Havens died of a heart attack at home in Jersey City, New Jersey, at the age of 72. The BBC referred to him as a "Woodstock icon," while Stephen Stills of Crosby, Stills, Nash & Young said Havens "could never be replicated." The Daily Telegraph stated Havens "made an indelible mark on contemporary music," while Douglas Martin of The New York Times reported that Havens had "riveted Woodstock."

Pursuant to Havens's request, he was cremated, and his ashes were scattered from the air over the original site of the Woodstock Festival, in a ceremony held on August 18, 2013, the 44th anniversary of the festival's last day.

Havens was survived by his wife Nancy, three children, five grandchildren, and two great-grandchildren.

On June 25, 2019, The New York Times Magazine listed Richie Havens among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

[blackkudos]

Richie Havens

Richard Pierce Havens, known professionally as Richie Havens, (January 21, 1941 – April 22, 2013) was an American singer-songwriter and guitarist. His music encompassed elements of folk, soul, and rhythm and blues. He is best known for his intense and rhythmic guitar style (often in open tunings), soulful covers of pop and folk songs, and his opening performance at the 1969 Woodstock Festival.

Life and career

Early life

Born in Brooklyn, Havens was the eldest of nine children. He was of Native American (Blackfoot) descent on his father's side, and of the British West Indies on his mother's. His grandfather was Blackfoot of the Montana/South Dakota area. Havens' grandfather and great-uncle joined Buffalo Bill's Wild West Show, got off in New York City and ended up on the Shinnecock Reservation in Long Island. There he got married then moved to Brooklyn.

As a youth in Bedford-Stuyvesant, Havens began organizing his neighborhood friends into street corner doo-wop groups and was performing with the McCrea Gospel Singers at age 16.

Early career

At age 20, Havens left Brooklyn, seeking artistic stimulation in Greenwich Village. "I saw the Village as a place to escape to, in order to express yourself," he recalled. "I had first gone there during the Beatnik days of the 1950s to perform poetry, then I drew portraits for two years and stayed up all night listening to folk music in the clubs. It took a while before I thought of picking up a guitar."

Havens' solo performances quickly spread beyond the Village folk circles. After cutting two records for Douglas Records, he signed on with Bob Dylan's manager, Albert Grossman, and landed a record deal with the Verve Folkways(later Verve Forecast) label. Verve released Mixed Bag in late 1966, which featured tracks such as "Handsome Johnny" (co-written by Havens and actor Louis Gossett Jr.), "Follow", and a cover of Bob Dylan's "Just Like a Woman".

By 1969, Havens had released five more albums. Something Else Again (1968) became his first album to hit the Billboard charts and also pulled Mixed Bag back onto the charts. Two of those albums were unauthorized "exploitation albums" released by Douglas Records (or Douglas International): Electric Havens (released June 1, 1968) and Richie Havens Record (1969).

Woodstock and increased visibility

Havens as a live performer earned widespread notice. His Woodstock appearance in 1969 catapulted him into stardom and was a major turning point in his career. As the festival's first performer, he held the crowd for nearly three hours. In part, Havens was told to continue playing, because many artists scheduled to perform after him were delayed in reaching the festival location with highways at a virtual standstill. He was called back for several encores. Having run out of tunes, he improvised a song based on the old spiritual "Motherless Child" that became "Freedom". In an interview with Cliff Smith, for Music-Room, he explained:

"I'd already played every song I knew and I was stalling, asking for more guitar and mic, trying to think of something else to play – and then it just came to me...The establishment was foolish enough to give us all this freedom and we used it in every way we could."

The subsequent Woodstock movie release helped Havens reach a worldwide audience. He also appeared two weeks later at the Isle of Wight Festival in late August 1969.

Following the success of his Woodstock performance, Havens started his own record label, Stormy Forest, and released Stonehenge in 1970. Later that year came Alarm Clock, which included the George Harrison-penned hit single, "Here Comes the Sun". This was Havens' first album to reach Billboard's Top 30 Chart. Stormy Forest went on to release four more of his albums: The Great Blind Degree (1971), Live On Stage (1972), Portfolio (1973), and Mixed Bag II (1974). Memorable television appearances included performances on The Ed Sullivan Show and The Tonight Show Starring Johnny Carson. On the latter program, the audience reacted with such enthusiasm that when the applause continued even after the commercial break, Carson asked Havens to return the following night.

Havens also began acting during the 1970s. He was featured in the original 1972 stage presentation of The Who's Tommy, as Othello in the 1974 film Catch My Soul, in Greased Lightning alongside Richard Pryor and in Bob Dylan's Hearts of Fire.

Havens increasingly devoted his energies to educating young people about ecological issues. In the mid-1970s, he co-founded the Northwind Undersea Institute, an oceanographic children's museum on City Island in the Bronx. That, in turn, led to the creation of the Natural Guard, an organization Havens described as "...a way of helping kids learn that they can have a hands-on role in affecting the environment. Children study the land, water, and air in their own communities and see how they can make positive changes from something as simple as planting a garden in an abandoned lot." In July 1978 he also was a featured performer at the Benefit Concert for The Longest Walk, an American Indian spiritual walk from Alcatraz to Washington DC affirming treaty rights, as a result of legislation that had been introduced to abrogate Indian treaties.

Branching out more into the media

During the 1980s and 1990s, Havens continued a world touring schedule and a steady release of albums. The release of 1993's Resume, The Best of Richie Havens Rhino collected his late 1960s and early 1970s recordings. In 1982, he composed and performed a promotional slogan for NBC's 1982–83 television season, entitled We're NBC, Just Watch Us Now. He also performed slogans for CBS and ABC, and recorded commercials for Amtrak, singing the slogan "There's something about a train that's magic"; and in 1985, for Coca-Cola. Havens also did corporate commercial work for Maxwell House Coffee, as well as singing "The Fabric of Our Lives" theme for the cotton industry. In 1982 he appeared at the UK's Glastonbury Festival, closing the show on the Sunday night.

In 1993, Havens performed at the inauguration of President Bill Clinton. Among the selections was the "Cotton" song, made famous by a series of television ads in the early 1990s. In 1999, Havens played at the Tibetan Freedom Concert for an audience of more than 100,000.

Havens also played a small role as a character named Daze in a 1990 film called Street Hunter, starring John Leguizamo.

Havens was the 20th living recipient of the Peace Abbey Courage of Conscience Award, presented in Sherborn, Massachusetts, on April 12, 1991.

In addition to performing at charity benefit concerts, Havens formed the Northwind Undersea Institute, an oceanographic children's museum on City Island in The Bronx. The museum led to the creation of The Natural Guard, an organization that educates children about the environment.

Final years

In 2000, Havens teamed with the electronic music duo Groove Armada for the retro 1970s-style song, "Hands of Time". The song was featured on the soundtrack of the film Collateral; the same song was also used in the films Domino, A Lot Like Love, and Tell No One. Havens was also featured on "Little By Little" and "Healing" on the band's third album, Goodbye Country.

In 2000, he published They Can't Hide Us Anymore, an autobiography co-written with Steve Davidowitz. Havens maintained his status as a folk icon and continued to tour. In 2002, he released Wishing Well, followed by the 2004 album Grace of the Sun.

In 2003, the National Music Council awarded Havens the American Eagle Award for his place as part of America's musical heritage and for providing "a rare and inspiring voice of eloquence, integrity and social responsibility."

On October 15, 2006, Havens was inducted into the Long Island Music Hall of Fame.

In 2007, Havens appeared as "Old Man Arvin" in the Todd Haynes film I'm Not There. In a classic front-porch jam scene, he is shown singing the Bob Dylan song "Tombstone Blues" with Marcus Carl Franklin and Tyrone Benskin. Havens' version of the song also appears on the I'm Not There soundtrack.

In February 2008, Havens performed at The Jazz Café in London, England. The performance and the man was described by Cliff Smith, reporting for Music-News as "Mesmerising, poetic, profound, funny...".

Havens was invited to perform at the 2008 Cannes Film Festival opening ceremony. He played "Freedom" at the request of the jury president, Sean Penn. He also performed at the London, Ontario, Blues Festival in July 2008.

In March 2008, Havens released a new studio album entitled, Nobody Left To Crown. The first single release was the country-tinged "The Key".

Havens appeared in the acclaimed 2009 film Soundtrack for a Revolution, which provided a general history of the modern civil rights movement, and had modern artists performing many of the era's musical classics. In the film, Havens performed a haunting rendition of Will the Circle Be Unbroken?.

On May 3, 2009, Havens performed at the fundraising concert in honor of Pete Seeger's 90th birthday. In June 2009, he performed at the fifth annual Mountain Jam Festival. The event, hosted by Allman Brothers Band and Gov't Mule guitarist Warren Haynes, was held at the Hunter Mountain Ski Resort in Hunter, New York. As is the tradition, the festival took place on the weekend following Memorial Day. On June 20, 2009, Havens performed at the Clearwater Festival. On July 4, 2009, he performed at the Woodstock Tribute festival in Ramsey, New Jersey. On August 8, 2010, he performed at Musikfest 2010 at Foy Hall at Moravian College in Bethlehem, Pennsylvania.

Health problems and death

In 2010, Havens had kidney surgery but did not recover fully enough to perform as he had before. On March 20, 2012, he announced on his Facebook page that he would stop touring after 45 years due to health concerns.

On April 22, 2013, Havens died of a heart attack at home in Jersey City, New Jersey at the age of 72. The BBC referred to him as a "Woodstock icon," while Stephen Stills of Crosby, Stills, Nash & Young said Havens "could never be replicated." The Daily Telegraph stated Havens "made an indelible mark on contemporary music," while Douglas Martin of The New York Times reported that Havens had "riveted Woodstock."

Pursuant to Havens's request, his remains were cremated and his ashes were scattered from the air over the original site of the Woodstock Festival, in a ceremony held on August 18, 2013, the 44th anniversary of the last day of the festival.

Havens was survived by three children, five grandchildren, and two great-grandchildren.

Wikipedia