By Denise Sullivan
Writer Denise Sullivan explores the bond among track and social switch and strains the evolution of protest song over the last 5 many years. the wedding of track and social switch didn't originate with the civil rights and black strength hobbies of the Fifties and Sixties, yet by no means sooner than had the connection among the 2 been so dynamic. Black tune altered the line to liberation for minorities, sparking creativity and leading to a genre-encompassing poetry, jazz, people, and rock in addition to a brand new model of prideful and political soul and funk. via vast learn and specific interviews with musician-activists resembling Yoko Ono, Richie Havens, Janis Ian, and Buffy Sainte-Marie, this chronicle info the fight that went into the production of liberation song. A bittersweet narrative overlaying greater than 50 years of battling oppression via tune, stick with it Pushing defines the soundtrack to revolution and the fee paid to create it.
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Additional info for Keep On Pushing: Black Power Music from Blues to Hip-hop
Goddam! perfect synch with Dr. King and the march forward; it has been characterized as one of the movement’s unofficial anthems. “Move up a little higher,” “I’ve got my strength,” “Keep on pushing,” all phrases from the song, also borrowed from gospel’s language and its inspirational intent. These were elements that never strayed far from Mayfield’s consciousness, and combined with the melodious strains to which he set his words, he could disguise the tougher sentiments by weaving them into the complex harmonies, while never losing the threads.
As for La Farge’s own story, it is said he was raised by Tewas on the Hopi reservation in New Mexico; when he was nine he was adopted by Pulitzer Prize–winning novelist Oliver La Farge (who wrote Laughing Boy, about the plight of the Navajos). As a boy Peter loved the rodeo and by the time he was sixteen he was riding and singing on the circuit where he made connections to traveling singers Cisco Houston and Josh White, both important figures of inspiration to the musicians on the Village folk scene.
By the mid-sixties, Simone was at work deepening her repertoire, moving fluidly from Duke Ellington to Jimmy Webb, from traditional folk to the 33 34 keep on pushing contemporary songs of Greenwich Village. In the early 1960s, a hardcore Simone fan, Eric Burdon of the British beat group the Animals, paid tribute to his idol’s work when he cut his own version of “House of the Rising Sun;” later he took on the Simone original, “Don’t Let Me Be Misunderstood,” the first cut on her 1964 album, Broadway-Blues-Ballads which had introduced her more thoroughly to young European rock audiences.