denisesullivan

Keep On Pushing: Black Powered Music From Blues to Hip-Hop

“Sister Rosa”

February 4 is the birthday of Rosa Parks, the civil rights activist remembered for refusing to move to the back of the bus: The Montgomery Bus Boycott, in the name of the desegregating public transit, was organized immediately following her arrest on December 1, 1955.

Born Rosa Louise McCauley in Tuskegee, Alabama in 1913, Parks was a student of non-violent protest and an active member of her local chapter of the NAACP in Montgomery, but her refusal to move on the bus that day was not part of any kind of group action or occupation—she held her seat on her own steam. And yet far from receiving any heroine’s awards, Parks paid the price for asserting her right to ride: In the immediate aftermath of the desegregation effort, she could no longer find work in Montgomery.  She and her husband Raymond moved north, eventually settling in Detroit where she worked the better part of her life as a secretary for US Representative John Conyers.

Parks would one day receive the highest honors in the land– from the NAACP’s Spingam Medal, to the Presidential Medal of Freedom (awarded to her by President Bill Clinton) and the Congressional Gold Medal.  But if you dared to mess with the Mother of the Modern Day Civil Rights Movement and her legacy in a movie or a song, look out:  Parks was liable to slap you with a legal action or a boycott. “Sister Rosa,” a tribute to her by New Orleanians, the Neville Brothers, appears to have passed the test (though atypically for the Nevilles, it’s a rap track, taken from their 1989 album, Yellow Moon).

Parks passed in 2005, though matters of her personal estate have not been resolved and her detailed personal archive has not yet found a permanent home.  She would’ve been 99 this year.  For more information on Rosa Parks, visit the Rosa and Raymond Parks Institute.

Filed under: cross cultural musical experimentation, , , , , , , ,

Gainsbourg and Olatunji

In 1964, the French singer/scamp issued his sixth studio album, Gainsbourg Percussions, a beat-driven project that included three remade (and uncredited) songs from Olatunji’s watershed recording, Drums of Passion. Olatunji’s work sold over five million copies in 1960 and introduced African percussive stylings to pop audiences around the world, its release synchronistically coinciding with the decolonization of Africa and the launch of the civil rights era in the USA. Gainsbourg’s ambitious concept album didn’t exactly take the world, nor the Bastille, by storm; largely it’s been forgotten, though it may well have been one of the earliest attempts on record of an Afro-pop fusion. Gainsbourg Percussions also marks a transitional time in the anti-authoritarian/artist’s timeline—a period in which he moved from the dying breed of chanson, into the more highly-charged yé-yé records he wrote/recorded in the mid-late ’60s with singers like France Gall, Françoise Hardy, Brigitte Bardot and Jane Birkin (they married and had a daughter, Charlotte). Gainsbourg connoisseurs are largely divided on the merits of Percussions, though the album featured a hit, “Couleur Café,” as well as the tense but hypnotic rewrites of Olatunji’s songs, like “Akiwowo” as  ”New York—USA.”

Gainsbourg’s  47-year-old piece of work is once again available on vinyl; Drums of Passion was also reissued in a deluxe CD package on the occasion of its 50th anniversary last year.

Filed under: cross cultural musical experimentation, France, Nigerian music, , , ,

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