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.
Wiggy
Gil Scott-Heron Lyrics
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Comments
Generally during interviews and etcetera
About, um, uh, aheheh
About what people should wear
And what people should
Do and how people should carry on um
We'd like to make one small
The poem is "Wiggy" And, um
We'll let the title stand
For it'self here's "Wiggy"
Still, Jemima du head ragged
Her 1920 mind was gagged
Undigging how very counterfeit that thing
Across her mind did sit wiggy
Gold and blonde, blood-red and blue
Sizzled, frizzled, and greasy too
Black woman still dig imitation
The mother of our horse hair nation wiggy
Chemicalize your nappy top
Comb and brush that store-bought mop
Saturday Night, you storm the block
Paint resembling electric shock
Woman, you are a laughingstock wiggy
Baby, we dig fuzzy heads
Cotton-soft, not woolward lead
Brillo crowns we all adore
As long as we are sure it's yours
The lyrics to Gil Scott-Heron's song "Wiggy" address the issue of societal expectations and pressures placed on individuals regarding their appearance, specifically focusing on the concept of wigs. The song begins with a mock commentary on the common questions and comments during interviews about how people should dress and present themselves. It sets the tone for the main theme of the song, which challenges the idea of conformity and encourages embracing one's natural self.
The first verse mentions Jemima, possibly referring to a stereotype of a black woman, whose mind is "gagged" by society's expectations. The use of the word "wiggy" here can be interpreted as both a play on the word "wig" and as a metaphor for something that is fake, inauthentic, or out of touch with reality. The following lines highlight the variety and artificiality of wigs, along with the irony that even black women embrace these imitations, being the "mother of our horse hair nation." The lyrics then criticize the practice of chemically straightening hair ("chemicalize your nappy top") and the use of store-bought wigs or hairstyles that imitate other cultures.
The final lines of the song express a preference for natural, "fuzzy" heads and appreciate the beauty of authentic, unaltered hair. The mention of "Brillo crowns" could be interpreted as a reference to the unique texture of black hair, with the comparison adding a sense of admiration and celebration for natural African hairstyles.
Overall, "Wiggy" is a critique of societal pressures to conform to certain appearance standards and highlights the importance of embracing one's natural self rather than relying on artificiality.
Line by Line Meaning
Still, Jemima du head ragged
Despite societal pressures and expectations, Jemima chooses to wear her own natural hair
Her 1920 mind was gagged
Her mindset and sense of self-expression were constrained and limited by societal norms
Undigging how very counterfeit that thing
Recognizing the inauthenticity and lack of genuineness in conforming to societal beauty standards
Across her mind did sit wiggy
The societal pressure to conform to beauty standards plagued her thoughts and emotions
Gold and blonde, blood-red and blue
Different colors of wigs symbolizing the various artificial beauty standards
Sizzled, frizzled, and greasy too
The wigs were often poorly maintained and did not look natural or appealing
Black woman still dig imitation
Black women still feel compelled to imitate these artificial beauty standards
The mother of our horse hair nation wiggy
The pervasive influence of synthetic wigs and hair extensions in our society
Chemicalize your nappy top
Using chemical treatments to alter the natural texture of their hair
Comb and brush that store-bought mop
Tending to the fake hair they bought from stores
Saturday Night, you storm the block
Stepping out confidently, showcasing their artificial hair on Saturday nights
Paint resembling electric shock
Bold and flashy makeup that catches attention
Woman, you are a laughingstock wiggy
Women who conform to these beauty standards are ridiculed and mocked
Baby, we dig fuzzy heads
We appreciate and embrace natural and textured hair
Cotton-soft, not woolward lead
We prefer the softness and uniqueness of natural hair, rather than conforming to Eurocentric standards
Brillo crowns we all adore
We admire and appreciate natural and textured hair like a crown of beauty
As long as we are sure it's yours
As long as the hair is authentic and natural, we celebrate and embrace it as a symbol of self-expression
Lyrics © O/B/O APRA AMCOS
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