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Speak Ghetto Speak I SPEAK GHETTO SPEAK Politisk soul i USA 1960 – 1980 Ghetto, it's time to speak/ Yeah, speak ghetto speak/ Say it loud and clear. The ghettos got a message; we're saying Lord we wanna be free. Listen, oh listen/ Then you'll hear the ghetto speak. II © Tommy Søvik 2015 Speak ghetto speak – Politisk soul i USA 1960 – 1980 Tommy Søvik http://www.duo.uio.no/ Forsidedesign: Daniela Winck Trykk: Webergs Printshop Antall tegn: 230 403 III Sammendrag Denne studien handler om politisk soulmusikk («soul with a message», forkortet som «swam») i en turbulent tid i USAs historie: 1960- og 1970-tallet. Noen stikkord som er betegnende for disse tiårene, er polarisert politisk landskap, borgerrettighetsbevegelse, rasisme, kvinnefrigjøring, antikrigsbevegelse, ungdomsopprør, politisk motiverte mord og massedemonstrasjoner. I disse tiårene ble det laget musikk som tematiserer et tilsvarende politisk engasjement. Fra å ha vært en populærmusikalsk sjanger med ufarlige tekster om kjærlighet og forelskelse, vokste det fram soul med hardtslående politiske budskap: swam. Oppgavens hovedmål er å kartlegge hva swam var og forklare hvordan og hvorfor denne musikken utviklet seg som den gjorde på 1960- og 1970-tallet. Jeg gjør både kvantitative og kvalitative analyser av swam-tekster, artister og plateselskaper. Noen hovedfunn: Swam utgjorde en liten andel av den totale mengden soul-utgivelser i det aktuelle tidsrommet. Det overveldende flertallet swam-artister og- plateselskaper utga ikke mer enn én swam-låt. Swam utviklet seg i tre hovedfaser: 1) Fremveksten 1962-1967, 2) Storhetstiden 1968-1973 og 3) Nedgangen fra 1974-1980. Analysen av tekstene innhold og konteksten de ble utgitt i, tyder på at swams utvikling lar seg forklare som tett knyttet til de politiske strømningene i samtiden. Særlig i storhetstiden er det mange eksempler på tette bånd mellom borgerrettighetsbevegelsen og swam. IV V Forord «Speak ghetto speak» av Vince Evans fra 1971, singelen som er avbildet på tittelsiden, har både gitt tittel til denne oppgaven og vært spilt utallige ganger i årene jeg har vært opptatt av politisk soul. Jeg har i mange år vært en ivrig samler av soul-singler på vinyl fra 1960- og 70-tallet. Spiren til arbeidet med oppgaven ble sådd for over ti år siden da jeg la merke til at flere av låtene jeg kom over hadde et politisk innhold i motsetning til de vanlige kjærlighetslåtene. Jeg ble nysgjerrig og begynte å lete systematisk etter plater med et politisk budskap. Jeg har mange å takke for velvillig hjelp underveis med masteroppgaven: Først og fremst har min veileder Knut Kjeldstadli vært viktig som konstruktiv leser og støtte gjennom hele skriveprosessen. Lars Mjøset, professor i sosiologi ved Universitetet i Oslo, skal ha en særlig takk for stor inspirasjon og forløsende hjelp med tips om teori og musikk. Anne Danielsen, professor i musikkvitenskap ved Universitetet i Oslo, har også lest og gitt svært gode råd. To eksperter på African American Studies ga gode råd både i startfasen og underveis i arbeidet: Professor Craig Werner ved Universitetet i Wisconsin og historiker Rickey Vincent, foreleser ved University of California UC Berkeley. Jeg vil også takke alle som har bidratt med informasjon og diskusjon på Facebookgruppen «Ghetto tales – Soul with a message». Spesielt har den legendariske DJ og musikk-kjenner Dave Thorley vært en viktig diskusjonspartner. Han satte meg i kontakt med flere av intervjuobjektene og han har delt raust av sin enorme kunnskap om sære artister, låter og plateproduksjon. Robert Perlman takkes dypt for mange innspill, og ikke minst for sitt store bidrag til nedskriving av låt-tekster. I siste fase av arbeidet har min kollega Øyvind Thormodsæter bidratt med viktig korrekturlesning. Tusen takk! Og takk til min gode venn Bjørn Kowalski Hansen for proff kart- tegning. Sist, men ikke minst vil jeg takke min samboer for hennes svært gode støtte gjennom hele prosessen. Takk Ingrid! Allle feil og mangler som måtte gjenstå er mine. VI VII Innholdsfortegnelse Sammendrag ................................................................................................................... IV Forord ............................................................................................................................. VI Innholdsfortegnelse ....................................................................................................... VIII Figurliste.......................................................................................................................... XI Tabell-liste ....................................................................................................................... XI 1 «Say it loud» - Innledning ........................................................................................... 1 Oppgavens hovedmål ............................................................................................................. 2 Hva er soul? ............................................................................................................................ 2 Noen andre sentrale begreper ............................................................................................... 5 Kilder ....................................................................................................................................... 5 Vinylsingler 1960-1980 ....................................................................................................... 5 Platekataloger ..................................................................................................................... 7 Intervjuer med samtidige aktører i ettertid ........................................................................ 8 Samtidige magasiner ........................................................................................................... 8 Billboard Magazine .......................................................................................................... 9 Blues & Soul, Black Music og Soul Illustrated ................................................................. 9 Ebony Magazine ............................................................................................................ 10 Facebookgruppen «Ghetto tales – soul with a message» ................................................... 10 Forskningsmetode ................................................................................................................ 11 Fortolkning og klassifikasjon: Hva er swam? .................................................................... 12 Tidligere forskning ................................................................................................................ 17 Oppgavens struktur .............................................................................................................. 20 2 «Do you get the message?» - Hva handler swam-tekstene om? .................................22 Åtte tematiske kategorier ..................................................................................................... 23 Kategori 1 «We people in the ghetto» ................................................................................. 25 Kategori 2 «Tell it like it is» ................................................................................................... 28 Kategori 3 «Stand up and be counted» ................................................................................ 31 Kategori 4 «Vietnam you son of gun» .................................................................................. 34 Kategori 5 «Black pride» ....................................................................................................... 37 Kategori 6 «Brotherly love» .................................................................................................. 41 VIII Kategori 7 «King heroin» ...................................................................................................... 44 Kategori 8 «Soul brother or sold brother» ........................................................................... 47 Oppsummering ................................................................................................................. 50 Swam som protestmusikk .................................................................................................... 51 3 «Soul brother, soul sister» - Swam-artistene .............................................................54 Hundrevis av en-låts-artister, noen få store......................................................................... 54 Curtis Mayfield .................................................................................................................. 56 James Brown ..................................................................................................................... 58 Nina Simone ...................................................................................................................... 59 Tommy Tate ...................................................................................................................... 62 The Lumpen ...................................................................................................................... 63 Black Conspirators ............................................................................................................ 65 Greer Brothers .................................................................................................................. 65 «Whatcha gonna do about it» - Artistenes inspirasjon .......................................................
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