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.
Show Bizness
Gil Scott-Heron Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(well) that leaves a number upfronts like ____* suits and pay the rent
sing the blues pay your dues and not know who you are
makes you wonder why so many people want to be a star (well)
do you really want to be in show business?
the instant high and constant come-and-go business
and people sell their souls
wanna be in show business (x2)
It's all right with me
Yeahh, it's all right with me
Just as long as you know
you don't think it's important to them as your latest hit
that's a precarious position for a plastic king to sit
lawyers' game is double same, your fate is in their hands
you're a millionaire without a dime, you just don't understand! (well)
do you really want to be in show business?
the instant high and constant come-and-go business
got you hanging out in places you got no business
and people sell their souls
wanna be in show business (x2)
It's all right with me
Yeahh, it's all right with me
Just as long as you know
jumping down a ladder of success that runs both ways
and you see all the worst and best--damn near everyday
fans and fans and one-night stands will fill your mind with doubt
and on closing day you lucky to say, "down but still not out!" (well)
do you really want to be in show business?
the instant high and constant come-and-go business
got you proving exactly how much you don't know business
and people sell their souls
wanna be in show business (x8)
*(lolwut--"pay-fee"?)
In “Show Bizness,” Gil Scott-Heron delivers a scathing critique of the entertainment industry. The song does not only comment on the industry's inherent exploitation of young artists, but it also warns artists of the potential consequences of “selling their souls” to a profession that is fickle at best. He begins the song by highlighting an industry standard practice of taking 95% of new artists' earnings, which essentially leaves them with nothing. Scott-Heron meticulously describes the dilemma of wanting to be in the industry while also being aware of the risks, the disadvantages, and the cost that comes with it.
He emphasizes the emotional and mental toll of being in the industry, the constant highs and lows, the impact on relationships, and the struggles with identity. Scott-Heron argues that the music industry is more committed to profits than to artistry, resulting in a precarious position for artists with limited control of their careers. The song ends on a somber note, with artists still entrapped in an industry that values their art only to the extent that it lines the pockets of business executives.
Overall, “Show Bizness” is a powerful reminder that industries centered around the arts are not immune to corporate exploitation. Scott-Heron delivers this message effectively with his thought-provoking lyrics.
Line by Line Meaning
Well, they got your new career for only ninety five percent
The industry is taking most of the profits from your new career, leaving you with just a small percent.
(well) that leaves a number upfronts like ____* suits and pay the rent
So, even though you are 'successful', you still have to pay a lot up front to maintain that success.
sing the blues pay your dues and not know who you are
Going through the hardships of the business can strip away your identity, leaving you lost in the process.
makes you wonder why so many people want to be a star (well)
Looking at the reality of the situation, one may wonder why so many people still aspire to be celebrities.
do you really want to be in show business?
The artist questions the true intentions of those who want to enter the industry.
the instant high and constant come-and-go business
Entering the industry gives you an immediate high, but it is a business that is constantly changing and fickle.
got you hanging out at places you got no business
As part of the business, you feel the pressure to be in certain spaces even if it is not where you actually belong.
and people sell their souls
The exchange for success in the industry is often sacrificing authenticity to fit into an industry-defined mold.
wanna be in show business (x2)
Continuing the refrain of questioning the motives of those who enter the industry.
It's all right with me
Although the artist questions the motives of people who want to enter the business, they are not judging them for it.
Yeahh, it's all right with me
Reiterating that there is no judgment here.
Just as long as you know
The artist wants to make sure that people who enter the business are fully aware of what they are getting into.
you don't think it's important to them as your latest hit
The artist points out that the industry may not care about you as a person, just as long as you can keep making hits.
that's a precarious position for a plastic king to sit
This situation is a dangerous one for an industry-defined icon to be in.
lawyers' game is double same, your fate is in their hands
The industry is run by lawyers and their rules, and the fate of a celebrity is in their hands.
you're a millionaire without a dime, you just don't understand! (well)
Even though you may be making money, in the end, you may not see much of it due to the business structure.
jumping down a ladder of success that runs both ways
Success in the industry comes with just as many pitfalls as it does rewards.
and you see all the worst and best--damn near everyday
Every day, artists are exposed to both the positive and negative aspects of the industry.
fans and fans and one-night stands will fill your mind with doubt
Despite having fans, there is still a lingering feeling of insecurity and doubt that can arise from the industry.
and on closing day you lucky to say, "down but still not out!" (well)
When the career ends, and there is no more fame or fortune, it is a small victory if you can still say that you did not completely fail.
got you proving exactly how much you don't know business
The business structure can set you up for failure if you don't know how to navigate it properly.
wanna be in show business (x8)
The repetition of the refrain emphasizes the questioning and skeptical tone of the song towards the industry.
Contributed by Christopher K. Suggest a correction in the comments below.