denisesullivan

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

Happy Birthday Dr. King

It was a long road to the third Monday in January when all 50 states observe Martin Luther King, Jr. Day in their own unique ways.  Largely owed for making the dream of a King holiday a reality is Stevie Wonder, who back in 1980, wrote the pointed song “Happy Birthday” then launched a 41-city U.S. tour (and invited Gil Scott- Heron along) to promote the idea which was first mooted by Rep. John Conyers in 1968. The musical efforts were ultimately the key in collecting the millions of citizen signatures that had a direct impact on Congress passing the law signed by President Ronald Reagan in 1983, declaring a day for MLK. Observed for the first time in 1986, some states were late to the party, however, by the turn of the 21st Century, all were united in some form of remembrance of the civil rights giant. “Happy Birthday”, which served as the Wonder-campaign theme (and is now the “official” King holiday tune) is  the last track on Hotter Than July. The album also features “Master Blaster”, Wonder’s tribute to Bob Marley who had been scheduled for the tour till he fell too ill to participate. Stepping into the breach was Scott-Heron whose new book, The Last Holiday, is part memoir/part the story of how Wonder used a song to bring home a US federal holiday. Born in Atlanta Georgia on January 15, 1929, Dr. King would’ve been 83 this year.

Filed under: Concerts, Gil Scott-Heron, , , , , , ,

Gil Scott-Heron


Who: Gil Scott-Heron (1949-2011)

Classic Track: “The Revolution Will Not Be Televised.” So nice it was recorded twice, first on his debut recording, Small Talk at 125th and Lenox, and again as the opening track to 1971’s more music-based Pieces of a Man. Scott-Heron’s “Revolution” has been sampled, synthesized, digitized, and name-dropped more times than we can comprehend. Like a gospel in the Bible of hip-hop, it’s what helped earn him his rap as one of the music’s founders.

Career highs: His album collaborations with flautist Brian Jackson from 1974-1976 are foundational to Scott-Heron’s fusion of funky jazz with black-powered poetry and contain some of his best work, from the ghetto lament, “The Bottle” and the national confusion depicted in “Winter in America”, to the anti-apartheid solidarity anthem, “Johannesburg.” Scott-Heron has joined his music with activism, whether opposing nuclear power (“We Almost Lost Detroit”) at the No Nukes fest, or speaking out against Reagan’s presidential credentials (“B-Movie”).

Career Low: Drug addiction led to time served on possession charges.

Essential listening: The early works: 1971’s Pieces of a Man and ‘74’s Winter in America.

And if you like those: The even earlier coffeehouse style and live percussion driven Small Talk at 125th and Lenox. After a 12-year hiatus, the comeback album Spirits, especially its “Message to the Messengers”, directed at all the young mcs out there, still sounds pretty fly, in a ‘90s way.

Final Hour:  I’m New Here, his 2010 recording on the XL label includes songs penned by Robert Johnson, the singer-songwriter Smog, and spoken-word clips of Heron’s own vintage poetry.

Quotable: “You ain’t insane, you have got a brain, you haven’t gone lame, you have got your game. Remember: Keep the nerve.”

Watch the action then:

And now:

Filed under: Gil Scott-Heron,

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