He began recording in 1970 with the LP Small Talk at 125th and Lenox with the assistance of Bob Thiele Flying Dutchman Records, co-writer Brian Jackson, Hubert Laws, Bernard Purdie (who later recorded "Delights of the Garden" with The Last Poets), Charlie Saunders, Eddie Knowles, Ron Carter and Bert Jones, all jazz musicians (see 1970 in music). The album included the aggressive diatribe against white-owned corporate media and middle-class America's ignorance of the problems of inner cities in songs such as Whitey On The Moon.
The 1971 Pieces of a Man used more conventional song structures than the loose, spoken word feel of his first, though he didn't reach the charts until 1975 with "Johannesburg". His biggest hit was 1978's "The Bottle", produced by Heron and longtime partner Brian Jackson, which peaked at #15 on the R&B charts (see 1978 in music).
In 2001, Gil Scott-Heron was sentenced to one to three years' imprisonment in New York State for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003. On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. Scott-Heron's sentence was to run until July 13, 2009. He was paroled on May 23, 2007. The reason given for the violation of his plea was that the clinic refused to supply Scott-Heron with HIV medication. This story led to the presumption that the artist is HIV positive.
After his release, Scott-Heron began performing live again, starting with a show at SOBs in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.
He was arrested October 10, 2007, the day before a scheduled (but ultimately cancelled) second SOBs performance, on felony possession of cocaine charges. However, he has continued to make live appearances at various US venues during the course of 2008 and 2009, including further appearances at SOBs in New York. He has also stated in interviews that work is continuing on his new album, which will consist mainly of new versions of some of his classic songs plus some cover versions of other artists' work.
Having originally planned to publish The Last Holiday in 2003, before it was put on hold, Canongate Books now tentatively intend to issue it in January, 2011. The book was due to be previewed via a website set to be launched on April 1, 2009, but this did not appear.
Mark T. Watson, a student of Scott-Heron's work, dedicated a collection of poetry to Gil titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. The book was published in the UK in 2004 by Fore-Word Press Ltd. Scott-Heron recorded one of the poems in Watson's book Black & Blue due for release in 2008 as part of the album Rhythms of the Diaspora by Malik & the OG's on the record label CPR Recordings.
Gil Scott-Heron released his new album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, 'I'm New Here' is Scott-Heron's first album in thirteen years.The pair started recording the album in 2007, with the majority of the record being recorded over the last twelve months with engineer Lawson White at Clinton Studios in New York. In 2009, a new Gil Scott-Heron website, www.gilscottheron.net , was launched with a brand new track 'Where Did The Night Go' made available as a free download from the site.
In 2011, Scott-Heron released "We're New Here" a remix album which was a collaboration with Jamie xx, a member of the British indie band The xx. Scott-Heron died in New York City on May 27, 2011.
Ain't No New Thing
Gil Scott-Heron Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It's, um, based on, um
The fact that white people continue to rip off black artists,
They continue to uh, steal their material, their styles,
The very cultural elements that make the black artist the outstanding artist,
The master of music that he has been
Um, and, it ain't no new thing, to tell the truth
That these things are going on
Stanley Crouch comments on his album Ain't No Ambulances for No Niggers Tonight,
That uh, Chuck Berry was doing like a very heavy thing
A very rock and roll thing, the king of rock and roll as a matter of fact
But um, like, white people couldn't dig having their daughters go to no shows
And cream over no black man wiggling on the stage
So consequently, they invented Elvis Presley and let him do it.
So we gonna get into that, call it 'It Ain't No New Thing' and talk about some people.
Cultural rape and no geographical boundaries on white hate
And bizarre scarcely-concealed attempts to eliminate
Black generators of sun-heat feeling.
Ain't no new thing to to see demon fangs curling out from under squeezed-tight, too-thin lips
And leaping at jugular veins and burning black throats that either blow or sing or cry or scream.
Ain't no new thing to see the bubbling envy flashing from the depths of soulless eyes
As still another link with God is created
We used to having white people try to rob us.
Why don't they try stealing some of this poverty?
Ain't no new thing.
Anything they can't understand, they try to destroy
Anything they can't understand, they try to control
In 1896, black men picked up brass instruments and began to evoke and conjure
Entice and struggle with black spirits
Rhythmic spirits of blues, work songs,
Gospel songs, freedom songs
And songs of love and mother night
Screaming rhythm, juju rhythm, black, black magic
That calls back to lost worlds and lost lifestyles
Calling back to lost peace and peace of mind
Calling back to Genesis
Calling back to the drum
Calling back to the drum
Calling back to the first song/chant, song/chant, song/chant
That original man created.
In 1896 this new spasm was called "Ass"
But the "Ass" would not be kicked
So it was copied in an attempt to control it
And then it was called "Jazz."
We used to having black innovators copied and sent back to us.
What about the Osmond Brothers?
What about Elvis Presley?
What about Tom Jones?
We used to havin' people try to rob us,
It ain't no new thing.
They use the media to project their jazz idols
Tommy Dorsey and Jimmy Dorsey
And Harry James and Benny Goodman
And I suppose one day Lawrence Welk will join that elite group
And then there was sweet Bessie Smith, laying on the blood-soaked backseat of that broken-down jalopy
With a tattered quilt wrapped around her shoulders
Waiting for someone to come to her aid on a rainy Mississippi night
While a white hospital would not accept her right across the street.
Ain't no new thing;
Fats Navarro screaming through tormenting dreams
Frustration ripping at his mind and bowels
Over a hundred pounds melted from his frame as he battled that white powder mountain
Ain't no new thing.
Cultural rape and no geographical boundaries on white hate
Hired black musicians away in funky smoke-filled nightclubs
The chitlin' circuit.
Saturate their world with two-bit punks, washed-out, baggy-face white whores
Weasel-face, yellow-skin junkies
And cutthroat white managers
Producers, agents, owners
And on and on and on
We used to havin' white people try to rob us
Ain't no new thing, we have dug his game.
Charlie Parker will live on
John Coltrane will live on
Eric Dolphy will live on
Billie Holiday will live on
Jimi Hendrix and Clipper Brown and Lee Morgan will live on
And on in the sunshine of their accomplishments
The glory of the dimensions that they added to our lives.
We declare war on Eric Burdon!
We discredit the talents of Janis Joplin and Rare Earth!
We urge that the next blue-eyed soul group include Melvyn Layer, Lyndon Johnson, Nixon and Spearhead Agnew
And be called As the Stomach Turns.
We urge that the album John Wayne Sings the Blues be released!
Release the album, J. Edgar Hoover Sings James Brown!
Release the album, Wallace and Maddox sing Sam and Dave!
Why not?
We hear Tony the Tiger saying "Right on, Tiger!"
We heard Nixon talking about "Power to the people"
It ain't no new thing, it ain't no new thing
It ain't no new thing, it ain't no new thing
America is always the same old shit!
"Ain't No New Thing" by Gil Scott-Heron is a song highlighting the continued exploitation of black artists in the music industry by white artists. The lyrics reflect the frustration of black artists who are often not given credit or recognition for the cultural elements and styles they have contributed to music. The song focuses on examples of white musicians who have become popular by appropriating black culture, such as Elvis Presley, Tom Jones, and the Osmond Brothers. Scott-Heron also highlights the tragic circumstances surrounding black artists, such as Bessie Smith, who suffered injuries in a car accident and was refused medical care due to her race, and Fats Navarro, who struggled with drug addiction and ultimately died young. The song urges listeners to recognize the ongoing cultural exploitation of black artists and to demand change in the music industry.
Line by Line Meaning
Cultural rape and no geographical boundaries on white hate
The appropriation and exploitation of black culture knows no limits and is fueled by deep-seated racism.
And bizarre scarcely-concealed attempts to eliminate
There are unsettling and thinly veiled efforts to erase the contributions of black artists.
Black generators of sun-heat feeling
Black artists who create and express deep emotions through their music.
Ain't no new thing to to see demon fangs curling out from under squeezed-tight, too-thin lips
It's not a new phenomenon to witness the malicious intent and aggression aimed towards black artists.
And leaping at jugular veins and burning black throats that either blow or sing or cry or scream
These attacks target the very essence and abilities of black musicians, whether they play instruments, sing, or express their emotions.
Ain't no new thing to see the bubbling envy flashing from the depths of soulless eyes
It's a familiar sight to witness intense jealousy radiating from the hearts of those devoid of soul.
As still another link with God is created
As black artists establish yet another connection with divinity through their musical talents.
We used to having white people try to rob us
We are accustomed to white individuals attempting to steal our cultural heritage.
Why don't they try stealing some of this poverty?
Instead of appropriating our art, why don't they take on the burdens of our marginalized communities?
Anything they can't understand, they try to destroy
If they can't comprehend something, they seek to dismantle it.
Anything they can't understand, they try to control
In the face of incomprehension, they strive to exert dominance and influence.
In 1896, black men picked up brass instruments and began to evoke and conjure
During 1896, black musicians embraced brass instruments and summoned forth powerful and mystical forces.
Entice and struggle with black spirits
They enticed and grappled with the spirits embodied in black culture.
Rhythmic spirits of blues, work songs,
Gospel songs, freedom songs
These spirits were embodied in the rhythmic and soulful genres of blues, work songs, gospel, and freedom songs.
That calls back to lost worlds and lost lifestyles
These songs evoke memories of forgotten realms and ways of life.
Calling back to lost peace and peace of mind
They beckon for the return of tranquility and mental well-being.
Calling back to Genesis
They invoke the very beginning, the origin.
Calling back to the drum
They summon the power and significance of the drum.
Calling back to the first song/chant, song/chant, song/chant
That original man created
They harken back to the primal songs and chants that were crafted by the earliest humans.
In 1896 this new spasm was called "Ass"
But the "Ass" would not be kicked
So it was copied in an attempt to control it
And then it was called "Jazz."
Black musicians birthed a thrilling musical movement in 1896, initially referred to as "Ass," but it refused to be suppressed. Therefore, it was imitated to exert dominance and ultimately labeled as "Jazz."
We used to having black innovators copied and sent back to us
We are accustomed to seeing black trailblazers duplicated and sold back to us.
What about the Osmond Brothers?
What about Elvis Presley?
What about Tom Jones?
Why aren't these white artists also acknowledged for appropriating black art forms?
We used to havin' people try to rob us
It ain't no new thing
We are familiar with individuals trying to steal our cultural heritage, and it's an ongoing occurrence.
They use the media to project their jazz idols
Tommy Dorsey and Jimmy Dorsey
And Harry James and Benny Goodman
And I suppose one day Lawrence Welk will join that elite group
The media amplifies and promotes white jazz musicians like Tommy Dorsey, Jimmy Dorsey, Harry James, Benny Goodman, and possibly Lawrence Welk.
And then there was sweet Bessie Smith, laying on the blood-soaked backseat of that broken-down jalopy
With a tattered quilt wrapped around her shoulders
Waiting for someone to come to her aid on a rainy Mississippi night
While a white hospital would not accept her right across the street
The iconic Bessie Smith, lying in pain on a car seat stained with her own blood, sought help on a stormy night in Mississippi. However, the nearby white hospital refused to admit her.
Ain't no new thing;
Fats Navarro screaming through tormenting dreams
Frustration ripping at his mind and bowels
Over a hundred pounds melted from his frame as he battled that white powder mountain
It's not a novel occurrence; Fats Navarro, tormented by his own demons, experienced inner struggles and physical deterioration due to his battle with drug addiction.
Ain't no new thing
It's a familiar occurrence.
Hired black musicians away in funky smoke-filled nightclubs
The chitlin' circuit
Black musicians were recruited from the vibrant and gritty atmosphere of smoke-filled nightclubs, known as the chitlin' circuit.
Saturate their world with two-bit punks, washed-out, baggy-face white whores
Weasel-face, yellow-skin junkies
And cutthroat white managers
Producers, agents, owners
The industry inundates the music scene with mediocre white artists, worn-out women seeking attention, unscrupulous white business figures, and substance-abusing parasites.
We used to havin' white people try to rob us
Ain't no new thing, we have dug his game
We are accustomed to white individuals attempting to steal from us, and we have discerned their deceitful tactics.
Charlie Parker will live on
John Coltrane will live on
Eric Dolphy will live on
Billie Holiday will live on
Jimi Hendrix and Clipper Brown and Lee Morgan will live on
The legacies of musical icons like Charlie Parker, John Coltrane, Eric Dolphy, Billie Holiday, Jimi Hendrix, Clipper Brown, and Lee Morgan will endure.
And on in the sunshine of their accomplishments
The glory of the dimensions that they added to our lives
Their achievements continue to shine brightly, enriching our lives with their immense contributions.
We declare war on Eric Burdon!
We discredit the talents of Janis Joplin and Rare Earth!
We urge that the next blue-eyed soul group include Melvyn Layer, Lyndon Johnson, Nixon and Spearhead Agnew
And be called As the Stomach Turns.
We vehemently oppose Eric Burdon and refuse to recognize the abilities of Janis Joplin and Rare Earth. We suggest that the next white soul group feature mediocre figures like Melvyn Layer, Lyndon Johnson, Nixon, and Spearhead Agnew, and be mockingly titled 'As the Stomach Turns.'
We urge that the album John Wayne Sings the Blues be released!
We sarcastically demand the release of an album featuring John Wayne attempting to sing the blues.
Release the album, J. Edgar Hoover Sings James Brown!
Continuing the satirical tone, we sarcastically call for an album where J. Edgar Hoover sings James Brown's songs.
Release the album, Wallace and Maddox sing Sam and Dave!
We further mockingly suggest an album where segregationist politicians Wallace and Maddox perform songs by Sam and Dave.
Why not?
We hear Tony the Tiger saying "Right on, Tiger!"
We heard Nixon talking about "Power to the people"
If we are going to entertain absurd ideas, why not? We recall the endorsement of Tony the Tiger and Nixon's hollow rhetoric of promoting power to the people.
It ain't no new thing, it ain't no new thing
It ain't no new thing, it ain't no new thing
America is always the same old shit!
This is not a new phenomenon; it's a recurring pattern. America consistently remains stagnant in its oppressive treatment of black artists.
Contributed by Brayden V. Suggest a correction in the comments below.
LĂ© Music Seducer
The rawness... it's compelling! No words can express the joy I feel at celebrating this man's life on today! RIP.
Sondra Lee
Made it my business to buy everything he ever recorded.....also....his books. Very profound poet!
Tony Tone
This is my favs of all the poems and songs he wrote .He tells the truth no matter what.
Rawverian
This man is/was recognized enough for his work. He's one of the most influential people to ever walk the Earth. He deserves more than a shot out on the B.E.T. awards. If any, his memory and work should immortalized in mind and taught for generations to come.
TheDudeMinds89
RIP Gil Scott-Heron. You were truly one of a kind,
Morris Parrish
Wherever you are Gil; I hope your restin at ease!
SirJo Cocchi
wow.what a poet and what a warrior.
Queenchill
This man is simply incredible. He never dissapoints me.
Tshepo motshepana
The godfather of rap was always ahead of his time
novembertalespinner
Consider the time when this poem was witten. Consider the cultural style in which he delivers this piece. This has a foundation in ourstory. Progessive art, politics, and a new found identity and culture. GHS music covers at least two decades of of events.