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Gil Scott-Heron: the Revolution Survives

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Gil Scott-Heron: the Revolution Survives Gil Scott-Heron: The Revolution Survives By: Dawn Johnson MATX 601 – Paper 2 10/22/15 Gil Scott-Heron: The Revolution Survives Gil Scott-Heron’s spoken word poem or rather song, “The Revolution Will Not Be Televised,” though recorded in 1970, continues to be a major influential piece that has been appropriated by popular culture and artistry, specifically being used by modern Hip Hop Artists. “The Revolution Will Not Be Televised,” was first recorded for the live debut album, “Small Talk at 125th and Lenox,” which was released on the Flying Dutchmen Label. In this version of the song, Scott-Heron was accompanied by the percussive beats of congas and bongos that served to bring the poem to life. (McCann, 2014). Originating out of both the Black Power and Civil Rights Movement, the song was originally a “popular slogan during the 1960s and 1970s in America,” (McCann, p. 2), in which Scott-Heron integrated this catchphrase into then contemporary dialogue. Gil Scott-Heron, an apprentice of the Harlem Renaissance era, produced iconic work that was heavily “steeped in the literature and ideas of liberation movements that preceded the 1960s,” (Nichols, 2011); yet it is clear that these works, especially “The Revolution Will Not Be Televised,” transcend the earlier period of unrest, and today we find them located in today’s hip-hop/ rap culture. This analysis will function as an intertextual review of original Scott-Heron text “The Revolution” juxtaposed against its current use in today’s musical genre of hip-hop / rap. Gil Scott-Heron was born in 1949 in Chicago. He was raised initially by his grandmother until she died, when he moved to New York at 12 years of age. He ultimately attended Lincoln University, where he met Brian Jackson, who he worked with to create his band, the Black & Blues. Later, Scott-Heron went off on his own but maintained his relationship with Brian Jackson. In short, Gil Scott-Heron has been heralded as a writer, poet, singer, political activist and “The Godfather of Rap,” (McCann, p. 1). Scott-Heron was plagued by drug addiction and 1 | P a g e was also HIV positive. He ultimately died at the age of 62 in 2011 after an extensive battle with drugs and illness (McCann). While Scott-Heron’s life is one that was troubled by drugs and disease, his poetic abilities and his ability to address the current state of the time through his work is that for which he is remembered. Because of the poetic nature of the song “The Revolution Will Not Be Televised,” it has been compared to Allen Ginsberg’s “Howl” and Bob Dylan’s “Subterranean Homesick Blues,”. Performed under low light and beats of the African drum, the song confronts the media during Nixon’s presidency and its inability to effectively capture the political and societal climate of the time (Smith, 2010). Scott-Heron dismisses the popular references of the time, including commercials, companies, and consumerism in general indicating that none of it matters, “because black people will be in the street looking for a better day,” (Scott-Heron, 1971). Gil Scott-Heron gave us “The Revolution”, “when the role of media not just as observer but as shaper of our politics was barely discussed outside academic circles,” (Nichols, 2011, p. 1). Scott-Heron confronts the crisis of commercialism and the public that is consumed by the frivolous notions of the time, as you will not be able to “skip out for beer during commercials, nor will “the revolution make you look five pounds thinner, because the revolution will not be televised,” (Scott-Heron, 1971). In addition to confronting the frivolous public and its focus on consumerism, he also takes on the media as the reason in which the revolution is not televised. Rather, the revolution is being televised, but “blow-dried reporters and the drive-by anchormen never quite got the whole story,” (Nichols, p. 1). In fact, “there will be no pictures of pigs shooting down brothers in the instant replay,” … “and women will not care if Dick finally gets down with Jane on Search for tomorrow, because Black people will be in the street looking for a brighter day,” (Scott-Heron, 1971). Scott-Heron’s characterization of the media and its role, 2 | P a g e demonstrated that the media, at that time, was not only powerful, but had the ability to shape and characterize society as it saw fit. More specifically, Scott-Heron’s justified assault on the media provided that the media was not just the messenger but that the media was the vessel through which the world is shaped and cultivated. And as in Scott-Heron’s song, Black people had no voice in the media. In fact, “the revolution (the Black Revolution) will not “be right back after a message about a white tornado, white lightning, or white people,” signifying that the true political environment and black-life will be cloaked in messages of white consumerism and inaccurate portrayals by white media. Scott-Heron’s lyrics created a call to action for the young “brothers” to begin to create, begin to think, and to begin to have a voice that will “put you in the driver’s seat,” (Scott-Heron, 1971). It is the previously mentioned call to action by Gil Scott-Heron that has allowed the lyrics of the song “The Revolution” to transcend the political climate of the 60s and 70s and to be re- versioned and repurposed numerous times by the hip-hop artists and others. “The Revolution” has been specifically relevant to the genre of hip-hop music that have repurposed the lyrics as rap lines. For example, Public Enemy in their track entitled “Countdown to Armageddon” on the 1988 Public Enemy album, It Takes a Nation of Millions to Hold Us Back, includes the line, "The revolution will not be televised." Public Enemy is known for their hard hitting black nationalist lyrics that address white supremacy. Countdown to Armageddon serves as the introduction to the album, indicating that Public Enemy is going to bring about change and revolution and that the revolution will not be televised. Public Enemy in this album suggests that the listener can get involved in this change. Later in the 1990s, conscious hip-hop/rap artist KRS-One recorded a re-envisioning song using different lyrics "Revolution.” Additionally, in 2000, conscious rapper, Common, used “The revolution will not be televised, the revolution is 3 | P a g e here,” in the song “The 6th Sense” off the album Like Water for Chocolate. Common’s song focuses on the afro-centric perspective, social issues that impact African Americans and the relevance of the hip-hop culture. In 2010, Kanye West released “Who Will Survive In America,” which is a tribute Gil Scott-Heron on his album My Beautiful Dark Twisted Fantasy. In this song, West rapped, “Us living as we do upside-down…and the new words at hand is revolution,” which is referring to the African American man, whom he deems as being cut off from American society and culture (Genius, n.d.). While these references are very relevant to the discussion, they represent only a small segment of the artists that have appropriated the works of Scott-Heron. In fact, Scott-Heron’s lyrics have been widely used across multiple music genres, including Rap, R&B, and Rock (Wikipedia, n.d.). Why are the lyrics of “The Revolution Will Not Be Televised,” which originated in the 1970’s out of the black power movement still relevant today and why the transformation into the new medium of hip-hop/ rap? Based on the presentation of this analysis which has detailed the poetic and rhythmic nature of Scott-Heron’s work and the use of the work in modern day rap culture, it is clear to see that the transformation from the spoken word poetry of Gil Scott-Heron, which was set to the syncopated beat of the congos and drums is a natural progression to rap and hip-hop, as hip hop is the current drum beat / heart-beat of the African American community. Moreover, rap and hip-hop lyrics are incredibly poetic. Rapping is “spoken or chanted rhyming lyrics,” (Wikipedia, n.d.). Rap includes rhythm and rhyme, much like the rhyme of poetry. Rap is an ideal medium to transform the lyrics of Gil Scott-Heron’s poem. Because this medium lends itself to the works of Gil Scott-Heron, we are able to see the influence of political activist language in the works of many. 4 | P a g e Yet, the transformation goes beyond the mechanics and the medium. Rather, Scott- Heron in the 70’s challenged black people to become learned and knowledgeable and to have a voice against the media and to resist the urge to subscribe to American “white” Consumerism. The use of his 1970s lyrics today are indicative of a still existing need for activism in the African American community. With the many ills that plague the black community today, the impact of the “The Revolution” lyrics still ring true in current hip-hop language. Kanye West in his song speaks of today’s African American community and the faded American dream. Lyrics like in the West song indicate that there is yet a matter at hand and that there is still a need for activism and even action. Also, the use of the Scott-Heron lyrics also implies that the issues of American Consumerism and the media messages are ever present, and thus the text / lyrics are still very relevant.
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