WEBVTT FILE 1 00:00:02.000 --> 00:00:07.000 Downloaded from YTS.MX 2 00:00:08.000 --> 00:00:13.000 Official YIFY movies site: YTS.MX 3 00:00:31.437 --> 00:00:33.024 MAN 1: All right, let me know when you're rolling. 4 00:00:33.191 --> 00:00:35.572 MAN 2: Give me a second, I wanna get make up to... 5 00:00:35.738 --> 00:00:37.199 MAN 1: Okay. 6 00:00:37.366 --> 00:00:39.746 MAN 3: Is that the lowest you can go? 7 00:00:39.913 --> 00:00:41.374 Turn it off. 8 00:00:41.542 --> 00:00:43.128 ‐Level? ‐MAN 4: Turn it down. 9 00:00:43.295 --> 00:00:44.380 The sync went out a little bit. 10 00:00:44.590 --> 00:00:47.804 MAN 5: All right. All right, let me try that again. 11 00:00:47.971 --> 00:00:50.560 WOMAN 1: I hope this will be worth it. 12 00:00:50.727 --> 00:00:51.854 MAN 6: It's about Harlem. MAN 7: Okay. 13 00:00:52.021 --> 00:00:53.189 MAN 6: When'd you get to Harlem? 14 00:00:53.356 --> 00:00:54.651 ‐Let me do, like, a room tone. ‐MAN 7: Yeah. 15 00:00:54.735 --> 00:00:56.572 MAN 6: All right. WOMAN 1: Yeah, cool. 16 00:00:56.655 --> 00:00:57.699 MAN 6: Tell 'em the story like we rehearsed. 17 00:00:57.782 --> 00:00:58.826 WOMAN 1: Yep. 18 00:00:58.909 --> 00:00:59.953 MAN 8: You guys ready? 19 00:01:00.203 --> 00:01:01.247 MAN 9: Sound speed? WOMAN 2: Sound speeding. 20 00:01:01.414 --> 00:01:03.251 MAN 9: Camera speed. 21 00:01:03.418 --> 00:01:04.504 AHMIR "QUESTLOVE" THOMPSON: Well, first of all, 22 00:01:04.588 --> 00:01:06.800 thank you for doing this interview for us. 23 00:01:06.967 --> 00:01:09.973 We're gonna bring in the monitor to show you some footage. 24 00:01:11.100 --> 00:01:13.104 (CROWD MURMURING OVER MONITOR) 25 00:01:13.648 --> 00:01:18.574 So, do you remember the Harlem Cultural Festival? 26 00:01:18.741 --> 00:01:21.120 That summer of 1969? 27 00:01:26.757 --> 00:01:28.844 (MURMURING CONTINUES) 28 00:01:31.809 --> 00:01:33.228 TONY LAWRENCE: There is a lost wallet. 29 00:01:33.395 --> 00:01:37.612 Anne Reynolds. Anne Reynolds. 30 00:01:37.779 --> 00:01:39.991 Your wallet is over here. 31 00:01:41.327 --> 00:01:42.496 CYRIL "BULLWHIP" INNIS JR.: Nobody ever heard of 32 00:01:42.580 --> 00:01:44.375 the Harlem Cultural Festival. 33 00:01:44.543 --> 00:01:46.880 Nobody would believe it happened. 34 00:01:47.131 --> 00:01:51.431 MAN: The organist is on number 15, he'll play a little bit for you now. 35 00:01:52.391 --> 00:01:54.061 ‐(INSTRUMENTS TUNING) ‐MUSA JACKSON: All I remember 36 00:01:54.186 --> 00:01:57.109 is going to this amazing concert in the park. 37 00:01:57.276 --> 00:01:59.614 LAWRENCE: You gotta move back, ladies and gentlemen. 38 00:01:59.698 --> 00:02:00.950 You gotta move back. 39 00:02:01.117 --> 00:02:05.250 MUSA: And there was just a sea of Black people. 40 00:02:06.169 --> 00:02:07.797 (INDISTINCT CHATTERING) 41 00:02:07.922 --> 00:02:09.634 LAWRENCE: Thank you. Thank you, thank you. 42 00:02:09.718 --> 00:02:10.761 Hold it. Hold it. 43 00:02:10.845 --> 00:02:13.057 That is the organ mic, sir. 44 00:02:13.224 --> 00:02:15.479 As soon as you move down, we can start. 45 00:03:03.366 --> 00:03:07.249 LAWRENCE: Welcome to the Harlem Cultural Festival 46 00:03:07.332 --> 00:03:09.128 here in Mount Morris Park 47 00:03:10.463 --> 00:03:11.967 in the heart of Harlem. 48 00:03:13.052 --> 00:03:14.305 (CROWD CHEERING) 49 00:03:14.388 --> 00:03:20.483 And now, ladies and gentlemen, the young brother of soul... 50 00:03:20.651 --> 00:03:25.661 ‐Stevie Wonder! ‐(CROWD ROARING) 51 00:03:28.041 --> 00:03:30.838 WONDER: Hey, y'all, it's raining. (LAUGHS) 52 00:03:31.088 --> 00:03:32.550 (SINGING) Here we go 53 00:03:33.636 --> 00:03:34.763 (SLOW MUSIC PLAYING) 54 00:03:37.392 --> 00:03:39.063 Here we go again 55 00:03:41.275 --> 00:03:43.989 We gotta get a groove goin' 56 00:03:46.410 --> 00:03:49.751 Gotta get a groove goin' Baby, love 57 00:03:53.049 --> 00:03:55.930 All you got to do, baby, yeah 58 00:03:57.349 --> 00:04:01.315 Is do what Stevie tell you to do 59 00:04:02.902 --> 00:04:04.823 Oh, yeah 60 00:04:05.031 --> 00:04:10.543 Everybody, clap your hands 61 00:04:10.710 --> 00:04:14.926 Let me hear Clap your hands 62 00:04:15.093 --> 00:04:16.722 'Cause 63 00:04:16.888 --> 00:04:22.065 It's your thing, do what you wanna do 64 00:04:22.232 --> 00:04:27.451 Don't let me tell you good things love do 65 00:04:28.161 --> 00:04:31.375 Just as long, just as long 66 00:04:31.543 --> 00:04:35.676 Just as long as you give it to me 67 00:05:27.530 --> 00:05:29.659 DARRYL LEWIS: The Harlem Cultural Festival 68 00:05:29.742 --> 00:05:32.330 was a total party atmosphere. 69 00:05:33.416 --> 00:05:35.420 (UPBEAT MUSIC PLAYING) 70 00:05:37.550 --> 00:05:38.594 (VOCALIZING) 71 00:05:38.677 --> 00:05:40.764 ROGER PARRIS: Well, it was in Mount Morris Park, 72 00:05:40.848 --> 00:05:42.894 where the Panthers were the security 73 00:05:43.060 --> 00:05:45.315 and the kids were sittin' up on the trees. 74 00:05:53.289 --> 00:05:56.713 JIM McFARLAND: 1969 was a change of era 75 00:05:56.796 --> 00:05:58.132 in the Black community. 76 00:05:58.634 --> 00:06:01.932 The wholesale reevaluation of our history and our culture. 77 00:06:05.648 --> 00:06:07.818 DORINDA DRAKE: The styles were changing. 78 00:06:07.985 --> 00:06:09.656 PARRIS: Music was changing. 79 00:06:09.864 --> 00:06:11.701 BULLWHIP: And revolution was coming together. 80 00:06:13.664 --> 00:06:14.666 We want Black power! 81 00:06:14.791 --> 00:06:15.918 We need it now. 82 00:06:16.085 --> 00:06:17.295 The revolution is not gonna stop. 83 00:06:17.462 --> 00:06:18.464 In 1969. 84 00:06:18.590 --> 00:06:20.176 We want a new life. 85 00:06:22.264 --> 00:06:24.644 A Black consciousness revolution. 86 00:06:24.727 --> 00:06:27.440 DORINDA: It was the right time, the right place. 87 00:06:27.608 --> 00:06:28.819 We were there. 88 00:06:29.821 --> 00:06:32.910 (SINGING) Yeah, yeah, yeah 89 00:06:33.787 --> 00:06:35.248 WOMAN: We wanted freedom now. 90 00:06:35.874 --> 00:06:36.918 What time is it? 91 00:06:42.680 --> 00:06:46.145 LEWIS: We were creating a new world. 92 00:06:57.752 --> 00:06:59.839 (CROWD CHEERING) 93 00:07:02.135 --> 00:07:05.308 DORINDA: We were looking forward to that festival for some time. 94 00:07:06.226 --> 00:07:10.485 I was 19 in 1969. Going to college. 95 00:07:10.694 --> 00:07:12.865 That's the summer we became free. 96 00:07:12.948 --> 00:07:14.535 (LAUGHING) Of our parents. 97 00:07:17.792 --> 00:07:22.008 I lived in Harlem. On Madison and 135th. 98 00:07:22.175 --> 00:07:24.346 That festival was so close to home. 99 00:07:24.429 --> 00:07:26.141 It was only 10 blocks away. 100 00:07:26.308 --> 00:07:29.607 My three best friends and I, we could actually walk. 101 00:07:32.112 --> 00:07:36.203 We got there early. Boy, it was hot that day. 102 00:07:36.370 --> 00:07:40.211 And the sun was in my face. And it was exciting. 103 00:07:40.378 --> 00:07:42.842 We hadn't had anything like that in Harlem, 104 00:07:42.925 --> 00:07:44.136 that I can recall. 105 00:07:44.344 --> 00:07:49.062 LAWRENCE: Welcome to the heart of Harlem, Soulsville USA. 106 00:07:49.229 --> 00:07:50.649 This is Tony Lawrence 107 00:07:51.400 --> 00:07:55.199 and 50,000 beautiful people here in Mount Morris Park. 108 00:07:56.243 --> 00:07:59.207 And we are asking you to join us in the Soul Music Festival. 109 00:07:59.291 --> 00:08:00.794 (CROWD CHEERING) 110 00:08:00.919 --> 00:08:03.340 Now from Mississippi, 111 00:08:03.424 --> 00:08:06.681 ladies and gentlemen, The Chambers Brothers. 112 00:08:10.229 --> 00:08:13.485 (SINGING) Hey! Do it to it Oh 113 00:08:15.741 --> 00:08:19.039 Sock it, sock it to me, hey 114 00:08:19.206 --> 00:08:22.378 You like it like that, yeah 115 00:08:22.546 --> 00:08:25.677 That's where it's at, yeah Hey 116 00:08:25.844 --> 00:08:30.019 Do it to it I'm going uptown to Harlem 117 00:08:30.186 --> 00:08:33.150 To let my hair down in Harlem 118 00:08:33.317 --> 00:08:36.824 If a taxi won't take me I'll catch a train 119 00:08:36.991 --> 00:08:39.956 I'll go underground I'll get there just the same 120 00:08:40.122 --> 00:08:41.542 Because I'm goin' 121 00:08:41.709 --> 00:08:43.462 Uptown to Harlem 122 00:08:43.630 --> 00:08:44.632 Gonna let my hair 123 00:08:44.799 --> 00:08:47.011 Down in Harlem 124 00:08:47.178 --> 00:08:50.101 125th Street Now here I come 125 00:08:50.309 --> 00:08:53.567 Get ready for me 'cause I'm coming for fun 126 00:08:53.733 --> 00:08:55.486 I'm gonna eat me some‐a‐chicken 127 00:08:55.571 --> 00:08:57.365 Some black‐eyed peas 128 00:08:57.533 --> 00:09:00.162 Barbequed ribs and some collard greens 129 00:09:00.246 --> 00:09:01.415 I'm gonna party for 130 00:09:01.583 --> 00:09:03.545 Days in Harlem 131 00:09:03.712 --> 00:09:04.797 Leave the downtown 132 00:09:04.964 --> 00:09:06.884 Ways for Harlem 133 00:09:07.051 --> 00:09:10.391 'Cause I'm going uptown to Harlem 134 00:09:10.601 --> 00:09:12.896 DORINDA: Harlem was heaven to us. 135 00:09:13.022 --> 00:09:15.861 It was a place where I was safe, happy, 136 00:09:15.944 --> 00:09:17.573 and made lifelong friends. 137 00:09:17.865 --> 00:09:19.159 GEORGE CHAMBERS: (SINGING) I'll go underground 138 00:09:19.242 --> 00:09:20.494 I'll get there just the same 139 00:09:20.662 --> 00:09:21.956 I'm gonna make it to the Cave 140 00:09:22.165 --> 00:09:24.169 DORINDA: Of course, you had those destitute areas 141 00:09:24.252 --> 00:09:25.421 you might consider a ghetto. 142 00:09:25.589 --> 00:09:28.010 REPORTER 1: Harlem, where the tight‐packed tenements 143 00:09:28.218 --> 00:09:29.972 spew forth the overcrowded thousands 144 00:09:30.056 --> 00:09:32.310 onto the overheated streets. 145 00:09:33.647 --> 00:09:35.984 DORINDA: But to us Harlemers, Camelot. 146 00:09:36.151 --> 00:09:37.738 REPORTER 1: It is a creative forest 147 00:09:37.821 --> 00:09:40.076 where you are honed by the hardships of experience. 148 00:09:40.242 --> 00:09:42.623 And many a creative gem comes forth. 149 00:09:42.831 --> 00:09:44.209 (SINGING) Down to Harlem 150 00:09:44.376 --> 00:09:46.046 DORINDA: We loved the culture. 151 00:09:46.213 --> 00:09:49.553 The people, the parties, the food, the nightclubs. 152 00:09:49.720 --> 00:09:51.557 It was just so rich. 153 00:09:51.724 --> 00:09:52.851 GEORGE: (SINGING) I'll go underground 154 00:09:52.935 --> 00:09:54.312 I'll get there just the same 155 00:09:54.437 --> 00:09:57.778 Harlem was the place to be, that's where it all happened. 156 00:09:57.903 --> 00:10:00.199 I just graduated from high school. 157 00:10:00.366 --> 00:10:03.790 We wanted to see concerts, dance, just have fun. 158 00:10:03.998 --> 00:10:06.461 The normal thing that a high school girl would do. 159 00:10:06.629 --> 00:10:08.717 When I heard about this concert, 160 00:10:08.800 --> 00:10:10.929 it was like, "Okay, let's go." 161 00:10:11.096 --> 00:10:13.685 ‐We got to, got to, got to ‐Down to Harlem 162 00:10:13.852 --> 00:10:14.979 Yeah, you got to 163 00:10:15.062 --> 00:10:16.064 ‐Go up to Harlem ‐I'm going uptown 164 00:10:16.148 --> 00:10:18.611 LEWIS: I was 19 in 1969. 165 00:10:19.530 --> 00:10:21.826 The festival had the biggest crowds 166 00:10:21.909 --> 00:10:24.247 I can remember seeing at the time. 167 00:10:24.582 --> 00:10:28.422 I was home from college, it was a hot summer. 168 00:10:28.590 --> 00:10:32.931 I always related summertime to the potential of violence. 169 00:10:33.098 --> 00:10:36.396 And there was quite a bit of anxiety that year. 170 00:10:36.564 --> 00:10:38.066 FRED HAMPTON: 1969. 171 00:10:38.150 --> 00:10:40.739 Black America has lost faith in this country. 172 00:10:40.947 --> 00:10:43.076 Many of us have seen too many of our leaders 173 00:10:43.160 --> 00:10:44.162 jailed and killed. 174 00:10:44.329 --> 00:10:46.208 LEWIS: We have JFK in '63. 175 00:10:46.416 --> 00:10:47.961 WALTER CRONKITE: A bulletin from CBS News. 176 00:10:48.128 --> 00:10:49.840 President Kennedy is dead. 177 00:10:50.007 --> 00:10:52.428 His assassination was the result of the climate of hate. 178 00:10:52.596 --> 00:10:54.474 LEWIS: We've got Malcolm in '65. 179 00:10:54.642 --> 00:10:59.192 The assassination of Malcolm X was an unfortunate tragedy. 180 00:10:59.442 --> 00:11:01.238 ‐(GUNSHOT IN DISTANCE) ‐LEWIS: '68 in April, 181 00:11:01.321 --> 00:11:02.323 you've got Martin Luther King. 182 00:11:02.490 --> 00:11:05.412 Martin Luther King was shot and was killed tonight. 183 00:11:05.831 --> 00:11:08.878 LEWIS: June '68, you've got Robert Kennedy. 184 00:11:09.003 --> 00:11:10.381 ‐(CROWD SCREAMING) ‐MAN: Is there a doctor... 185 00:11:10.549 --> 00:11:13.972 LEWIS: After that, it felt like the system was letting you down. 186 00:11:14.138 --> 00:11:16.476 TV HOST: President Nixon is now occupying the White House. 187 00:11:16.644 --> 00:11:18.690 We are not gonna have a lot of guilt‐stricken 188 00:11:18.773 --> 00:11:20.610 white liberals hanging around to turn on. 189 00:11:20.819 --> 00:11:22.071 We're gonna be dealing now 190 00:11:22.154 --> 00:11:23.741 with white America at its worst. 191 00:11:23.992 --> 00:11:26.581 BLAND‐ACOSTA: There was protests and a lot of unrest. 192 00:11:26.873 --> 00:11:28.543 Then there was the Vietnam War. 193 00:11:28.751 --> 00:11:30.379 There is a disproportionate representation 194 00:11:30.462 --> 00:11:31.924 of Black men on the frontlines of Vietnam. 195 00:11:32.091 --> 00:11:34.470 ETHEL BEATTY‐BARNES: We were hearing about these deaths. 196 00:11:34.555 --> 00:11:36.517 So many people our very age. 197 00:11:36.726 --> 00:11:40.232 A family member, a father, an uncle, a cousin. 198 00:11:40.817 --> 00:11:43.113 There is no need to go to Vietnam 199 00:11:43.280 --> 00:11:46.411 and shoot somebody who a honky says is your enemy. 200 00:11:46.579 --> 00:11:49.042 We gonna shoot the cops who are shootin' our Black brothers 201 00:11:49.208 --> 00:11:50.712 ‐in the back in this country. ‐(CROWD CHEERING) 202 00:11:50.879 --> 00:11:52.340 That's where we're goin' to fight. 203 00:11:52.507 --> 00:11:55.680 AL SHARPTON: By '69, the Black community was divided 204 00:11:55.847 --> 00:11:58.018 between those that were advocating non‐violence... 205 00:11:58.185 --> 00:12:01.651 I'd rather quit talking about revolution and talk about what is possible. 206 00:12:01.859 --> 00:12:04.322 I was with the non‐violent crowd 'cause I was a boy preacher 207 00:12:04.489 --> 00:12:05.491 even though I was 14. 208 00:12:05.659 --> 00:12:07.955 But most of my friends was with those 209 00:12:08.038 --> 00:12:11.086 that were saying self‐defense and/or worse. 210 00:12:11.252 --> 00:12:14.718 And if that means tearin' up the community to gain our freedom, we will. 211 00:12:16.639 --> 00:12:17.766 TV ANCHOR: '68. 212 00:12:17.849 --> 00:12:20.479 A day after the death of Doctor Martin Luther King, 213 00:12:20.647 --> 00:12:22.901 in more than 100 cities, violence broke out. 214 00:12:23.151 --> 00:12:24.487 Several thousand looters 215 00:12:24.571 --> 00:12:26.491 sacked Harlem streets for nearly seven hours, 216 00:12:26.659 --> 00:12:29.038 the worst outbreak of looting in that area's history. 217 00:12:29.414 --> 00:12:33.965 I knew New York was trying not to have a repeat of that in '69. 218 00:12:34.132 --> 00:12:35.719 SHARPTON: People were afraid 219 00:12:35.802 --> 00:12:38.223 of the anger and rage boiling over. 220 00:12:38.390 --> 00:12:40.269 It's too late now, we are ready to start, 221 00:12:40.352 --> 00:12:41.564 and we're gonna finish it up. 222 00:12:43.400 --> 00:12:46.072 (SINGING) Yeah, yeah Come on and get me 223 00:12:46.239 --> 00:12:48.243 Uptown to Harlem 224 00:12:48.410 --> 00:12:50.164 Gonna let my hair down 225 00:12:50.330 --> 00:12:52.334 LEWIS: So, the goal of the festival 226 00:12:52.502 --> 00:12:55.550 may very well have been to keep Black folks 227 00:12:55.633 --> 00:12:58.263 from burnin' up the city in '69. 228 00:12:58.388 --> 00:12:59.933 (SINGING) Yeah 229 00:13:08.701 --> 00:13:10.079 (CROWD CHEERING) 230 00:13:10.204 --> 00:13:13.753 BLAND‐ACOSTA: It was a crazy, crazy, crazy period. 231 00:13:13.920 --> 00:13:17.677 We needed something to really reach out and touch us. 232 00:13:17.844 --> 00:13:19.097 We needed that music. 233 00:13:19.430 --> 00:13:20.767 LAWRENCE: Brothers and sisters, 234 00:13:20.934 --> 00:13:24.398 now we bring you the world's greatest blues singer. 235 00:13:24.900 --> 00:13:27.321 Ladies and gentlemen, B. B. King. 236 00:13:27.404 --> 00:13:30.452 ‐(CROWD CHEERING) ‐(MUSIC PLAYING) 237 00:13:49.115 --> 00:13:51.996 (SINGING) Yes, everybody wanna know 238 00:13:52.162 --> 00:13:55.460 Why I sing the blues 239 00:13:55.628 --> 00:13:58.843 I say, everybody wanna know 240 00:13:59.010 --> 00:14:02.433 Why I sing the blues 241 00:14:02.601 --> 00:14:05.857 You know, I've been around a long time 242 00:14:06.024 --> 00:14:09.656 People, I've really paid my dues 243 00:14:09.823 --> 00:14:13.079 I first got the blues They brought me over on a ship 244 00:14:13.246 --> 00:14:15.500 There was men standing over me 245 00:14:15.585 --> 00:14:17.797 And a lot more with a whip 246 00:14:17.964 --> 00:14:20.637 And everybody wanna know 247 00:14:20.803 --> 00:14:24.101 Everybody wanna know why I'm singin' the blues 248 00:14:24.268 --> 00:14:26.649 I've been around a long time 249 00:14:26.815 --> 00:14:30.447 People, I've really paid my dues 250 00:14:30.615 --> 00:14:33.788 I've laid in the ghetto flats Cold and numb 251 00:14:33.955 --> 00:14:36.209 I heard the rats tell the bedbugs 252 00:14:36.292 --> 00:14:38.338 To give the roaches some 253 00:14:38.506 --> 00:14:41.512 Everybody wanna know 254 00:14:41.679 --> 00:14:44.893 Everybody wanna know Why I'm singin' the blues 255 00:14:45.060 --> 00:14:47.147 Been around a long time 256 00:14:47.314 --> 00:14:50.863 People, I've really paid my dues 257 00:15:39.628 --> 00:15:41.130 (CROWD CHEERING) 258 00:15:41.214 --> 00:15:43.552 LAWRENCE: Big hand for B. B. King! 259 00:15:45.723 --> 00:15:46.975 DJ JERRY B: If you will, brothers and sisters, 260 00:15:47.059 --> 00:15:48.186 let's give him his due. 261 00:15:48.353 --> 00:15:50.023 The producer and director 262 00:15:50.107 --> 00:15:52.570 of the Harlem Cultural Festival of 1969, 263 00:15:52.654 --> 00:15:53.781 Tony Lawrence. 264 00:15:53.864 --> 00:15:55.660 Tony Lawrence, let's give it to him. 265 00:15:56.745 --> 00:15:58.582 (MUSIC PLAYING) 266 00:16:02.381 --> 00:16:03.592 (VOCALIZES) 267 00:16:06.097 --> 00:16:07.517 I'll tell you what we're gonna do, 268 00:16:07.684 --> 00:16:09.270 we're gonna get it right and do a little thing. 269 00:16:09.436 --> 00:16:11.274 I want all of you to do it with me, all right? 270 00:16:11.357 --> 00:16:12.861 Gotta get comfortable here. 271 00:16:13.027 --> 00:16:15.700 All right. Gonna throw this away. 272 00:16:15.908 --> 00:16:17.620 Hey, now, come on. 273 00:16:17.704 --> 00:16:19.081 Take the music down a little bit, baby. 274 00:16:19.248 --> 00:16:22.881 Take it down just a little bit, 'cause I know you feel good. 275 00:16:23.047 --> 00:16:24.843 ALLEN ZERKIN: I was introduced to Tony Lawrence, 276 00:16:24.926 --> 00:16:26.722 when the Parks Department was tasked 277 00:16:26.889 --> 00:16:32.441 with supporting this guy, Tony Lawrence's initiative 278 00:16:32.525 --> 00:16:35.488 to hold something called the Harlem Cultural Festival. 279 00:16:35.656 --> 00:16:37.702 And I was Tony's assistant. 280 00:16:37.869 --> 00:16:41.877 He was an ebullient guy, he had this phenomenal smile. 281 00:16:42.044 --> 00:16:43.379 MARGOT EDMAN: I remember Tony 282 00:16:43.463 --> 00:16:45.885 being physically always on the move. 283 00:16:46.052 --> 00:16:47.722 Being very positive, 284 00:16:47.805 --> 00:16:49.893 never getting angry about things 285 00:16:50.018 --> 00:16:51.229 but never sitting still. 286 00:16:51.354 --> 00:16:54.401 ZERKIN: He was a lounge singer, and he was a promoter. 287 00:16:54.485 --> 00:16:55.529 Can you hear me in the back? 288 00:16:55.613 --> 00:16:56.698 How we doin' over there? All right? 289 00:16:56.782 --> 00:16:58.034 And now, ladies and gentlemen... 290 00:16:58.243 --> 00:17:00.623 Ladies and gentlemen... Ladies and gentlemen... 291 00:17:00.790 --> 00:17:01.833 From right here in Harlem... 292 00:17:02.042 --> 00:17:03.211 Soul time! 293 00:17:15.443 --> 00:17:17.281 ZERKIN: Tony was a hustler in the best sense. 294 00:17:17.447 --> 00:17:20.120 He would make a promise about delivering something 295 00:17:20.287 --> 00:17:22.709 and then leverage that 296 00:17:22.875 --> 00:17:25.255 to be able to get other people to wanna participate. 297 00:17:25.422 --> 00:17:28.428 It's all premised on half commitments 298 00:17:28.595 --> 00:17:31.518 that are dependent on another, and it all... 299 00:17:31.685 --> 00:17:34.064 ultimately, if you're persistent, you pull it all together. 300 00:17:34.231 --> 00:17:36.444 EDMAN: He knew how to schmooze with politicians 301 00:17:36.612 --> 00:17:40.452 and he knew how to talk to entertainers and musicians. 302 00:17:40.661 --> 00:17:43.667 ZERKIN: Tony talked a big game, and he delivered. 303 00:17:43.751 --> 00:17:46.213 The '69 festival was huge. 304 00:17:47.382 --> 00:17:50.221 (MUSIC PLAYING) 305 00:17:51.265 --> 00:17:54.438 The challenges of staging something like that are enormous. 306 00:17:54.773 --> 00:17:56.192 To build a good stage, 307 00:17:56.359 --> 00:17:58.279 to have a decent sound system, 308 00:17:58.488 --> 00:18:02.079 that can cover 30 or 40,000 people in the park, 309 00:18:02.245 --> 00:18:06.295 you've got six consecutive weekends of major artists. 310 00:18:06.462 --> 00:18:07.674 But in that era, 311 00:18:07.757 --> 00:18:09.928 artists and particularly artist managers 312 00:18:10.011 --> 00:18:11.556 and booking agents, 313 00:18:11.765 --> 00:18:13.894 none of them were the least bit interested 314 00:18:13.977 --> 00:18:15.523 in these kinds of events. 315 00:18:15.690 --> 00:18:18.570 They were risky because they were afraid they wouldn't get paid 316 00:18:18.737 --> 00:18:20.281 because who's Tony Lawrence? 317 00:18:20.991 --> 00:18:23.664 I would think the biggest challenge was convincing them 318 00:18:23.872 --> 00:18:25.333 that this is A, legit, 319 00:18:25.417 --> 00:18:26.962 B, it's secure, you'll get paid. 320 00:18:27.129 --> 00:18:29.007 Yes, the city is really doing it. 321 00:18:29.091 --> 00:18:31.387 Yes, there'll be security. You'll be safe. 322 00:18:31.555 --> 00:18:32.932 BULLWHIP: It was our understanding 323 00:18:33.099 --> 00:18:35.437 that the police was not gonna do security 324 00:18:35.521 --> 00:18:37.441 for the Harlem Cultural Festival. 325 00:18:37.650 --> 00:18:41.407 So, the Black Panthers were there on point to be doing security. 326 00:18:41.950 --> 00:18:45.750 My job was to make sure that the backstage was covered. 327 00:18:45.916 --> 00:18:48.129 We had some members dressed in regular clothing 328 00:18:48.296 --> 00:18:50.467 and some members in uniform. 329 00:18:50.634 --> 00:18:52.429 Eventually, the police, they were there, 330 00:18:52.513 --> 00:18:55.226 but we wasn't gonna take any chances. 331 00:18:55.435 --> 00:18:57.607 LEEDS: Really, the biggest challenge was just 332 00:18:57.690 --> 00:19:00.236 having enough cash to do it right. 333 00:19:00.445 --> 00:19:03.284 But not only did Tony get the city behind it, 334 00:19:03.451 --> 00:19:05.163 Maxwell House put up a bunch of money. 335 00:19:05.330 --> 00:19:06.625 LAWRENCE: The Harlem Cultural Festival 336 00:19:06.792 --> 00:19:09.296 is being brought to you by Maxwell Household coffee. 337 00:19:09.463 --> 00:19:12.385 NARRATOR: Man found it first in the humid highlands of Kenya 338 00:19:12.553 --> 00:19:15.225 and in the misty plateaus of Abyssinia, 339 00:19:15.308 --> 00:19:17.187 a little brown bean. 340 00:19:17.563 --> 00:19:19.734 And at the heart of Instant Maxwell House, 341 00:19:19.818 --> 00:19:21.613 is the little brown bean 342 00:19:21.780 --> 00:19:27.290 from the rich, moist soil on the misty slopes of Africa. 343 00:19:27.457 --> 00:19:28.836 HAL TULCHIN: General Foods called me up 344 00:19:28.919 --> 00:19:30.673 to do a television special. 345 00:19:30.840 --> 00:19:34.137 We knew we cannot let this enormous 346 00:19:34.221 --> 00:19:36.560 array of talent not be taped. 347 00:19:36.726 --> 00:19:38.396 We must record them. 348 00:19:38.522 --> 00:19:41.443 There was no budget, no money, no lights. 349 00:19:41.611 --> 00:19:47.372 So, the stage had to face west because I had to use the sun. 350 00:19:47.540 --> 00:19:49.669 ZERKIN: This was a high‐visibility undertaking 351 00:19:49.836 --> 00:19:52.758 and would be an embarrassment if it didn't work. 352 00:19:57.727 --> 00:20:01.568 Yeah, so Tony had to have had somebody who vouched for him. 353 00:20:01.776 --> 00:20:07.162 At this time, we would like to introduce a young man 354 00:20:07.329 --> 00:20:12.047 who is leading one of the greatest fights in the world for our people. 355 00:20:12.213 --> 00:20:15.930 Ladies and gentlemen, our blue‐eyed soul brother, 356 00:20:16.096 --> 00:20:19.478 the mayor of New York City, Mayor John V. Lindsay. 357 00:20:19.646 --> 00:20:22.025 ‐Let's hear it! ‐(CROWD CHEERING) 358 00:20:22.192 --> 00:20:25.281 ZERKIN: That somebody was John Lindsay. 359 00:20:25.448 --> 00:20:28.914 SHARPTON: John Lindsay was the Republican mayor in New York, 360 00:20:29.081 --> 00:20:30.709 but a liberal Republican. 361 00:20:30.918 --> 00:20:32.922 Tall, lanky, charismatic. 362 00:20:33.089 --> 00:20:35.176 He was popular among Blacks. 363 00:20:35.343 --> 00:20:38.934 He seemed to not be in any way uncomfortable 364 00:20:39.017 --> 00:20:40.395 around Black people. 365 00:20:41.480 --> 00:20:43.401 (CLASSIC POP MUSIC PLAYING) 366 00:20:50.164 --> 00:20:53.129 SHARPTON: Lindsay would go to the Black community frequently 367 00:20:53.254 --> 00:20:55.968 and advocate anti‐poverty programs. 368 00:20:56.135 --> 00:20:59.307 DORINDA: He made it possible for us 16‐year‐olds to get our first jobs. 369 00:20:59.474 --> 00:21:01.145 He just was so chill. 370 00:21:01.311 --> 00:21:03.608 Lindsay was a hellified mayor. 371 00:21:03.817 --> 00:21:06.405 When we had the riots when they killed King, 372 00:21:06.488 --> 00:21:08.744 he was there in it right out in the street. 373 00:21:08.910 --> 00:21:12.459 The community of Harlem wants to be safe. 374 00:21:12.626 --> 00:21:14.714 They want to be able to walk tall down the street. 375 00:21:18.513 --> 00:21:22.312 BULLWHIP: In '69, Lindsay ran for re‐election. 376 00:21:22.479 --> 00:21:26.236 You're a bum, Lindsay! I'll say it to your face. 377 00:21:26.403 --> 00:21:28.742 He energized the Blacks and the Puerto Ricans 378 00:21:28.825 --> 00:21:30.161 and some of the Jews. 379 00:21:30.328 --> 00:21:32.750 I simply wanted to express my appreciation 380 00:21:32.833 --> 00:21:34.545 to the Harlem community 381 00:21:35.046 --> 00:21:36.215 for this glorious festival. 382 00:21:36.633 --> 00:21:40.766 This great concert could not possibly be and would not be 383 00:21:40.933 --> 00:21:43.020 without the inspiration and the support 384 00:21:43.104 --> 00:21:45.108 and the energy of this great community 385 00:21:45.274 --> 00:21:46.945 of our city of New York. 386 00:21:47.028 --> 00:21:49.032 (CROWD CHEERING) 387 00:21:49.784 --> 00:21:51.078 We're not gonna let him get off. 388 00:21:51.245 --> 00:21:54.919 You know, the mayor was gonna sing 389 00:21:55.086 --> 00:21:57.675 He's Got the Whole World in His Hands with me... 390 00:21:57.758 --> 00:21:59.010 (CROWD CHEERING) 391 00:21:59.344 --> 00:22:00.346 ...and he's comin' back next weekend 392 00:22:00.556 --> 00:22:03.227 and I think him and I are gonna do Knock On Wood together. 393 00:22:03.394 --> 00:22:04.396 ‐How's that, huh? ‐(CROWD CHEERING) 394 00:22:04.564 --> 00:22:07.152 All right, we're gonna truly make him a soul brother, okay? 395 00:22:12.746 --> 00:22:14.416 MUSA: I was a little kid. 396 00:22:14.584 --> 00:22:17.965 I remember being with my family 397 00:22:18.048 --> 00:22:20.178 walking around the park. 398 00:22:20.386 --> 00:22:25.104 And as far as I could see, it was just Black people. 399 00:22:25.939 --> 00:22:30.616 This was the first time I'd ever seen so many of us. 400 00:22:31.743 --> 00:22:33.705 It was incredible. 401 00:22:35.458 --> 00:22:40.510 Families, fathers, mothers, kids running around. 402 00:22:40.677 --> 00:22:42.765 I was one of those kids. 403 00:22:43.516 --> 00:22:47.775 Beautiful, beautiful women, beautiful men. 404 00:22:47.942 --> 00:22:51.323 It was like seeing royalty. 405 00:22:52.492 --> 00:22:55.749 Around the park, people were selling food. 406 00:22:55.916 --> 00:22:57.293 Mom was cookin'. 407 00:22:57.460 --> 00:23:00.634 She had her grill, chicken, mac 'n' cheese, 408 00:23:00.801 --> 00:23:05.644 maybe some greens, lemonade, Kool‐Aid, sellin' beer, 409 00:23:05.811 --> 00:23:08.817 sellin' headbands, sweatbands and balloons. 410 00:23:08.984 --> 00:23:11.196 I remember that distinctly. 411 00:23:13.075 --> 00:23:15.956 It smelled like Afro Sheen and chicken. 412 00:23:16.123 --> 00:23:18.335 Growing up in Harlem, if you went to places like that, 413 00:23:18.503 --> 00:23:19.588 even went to the movies, 414 00:23:19.755 --> 00:23:22.928 Mom fried some chicken, she'd put it in foil 415 00:23:23.012 --> 00:23:25.016 and you took it with you. 416 00:23:25.182 --> 00:23:27.646 We brought everything to the park. 417 00:23:27.813 --> 00:23:31.069 You know, the blankets, the Vaseline for the knees. 418 00:23:31.236 --> 00:23:34.242 It was the ultimate Black barbecue. 419 00:23:35.620 --> 00:23:38.208 And then you start to hear music 420 00:23:38.918 --> 00:23:40.379 and someone speaking... 421 00:23:40.505 --> 00:23:42.342 LAWRENCE: And now, for the first time in Harlem, 422 00:23:42.425 --> 00:23:44.095 Soulsville, USA... 423 00:23:44.262 --> 00:23:45.515 MUSA: ...and you knew it was something bigger. 424 00:23:45.682 --> 00:23:47.477 LAWRENCE: ...ladies and gentlemen, 425 00:23:47.561 --> 00:23:50.567 ‐the 5th Dimension! ‐(CROWD CHEERING) 426 00:23:50.942 --> 00:23:53.865 (SINGING) Don't cha hear me callin' to ya 427 00:23:54.032 --> 00:23:57.288 Don't cha hear me callin' to ya, baby 428 00:23:57.455 --> 00:24:00.504 Don't cha hear me callin' to ya 429 00:24:00.587 --> 00:24:03.133 Don't cha hear me callin' to ya, baby 430 00:24:03.300 --> 00:24:04.804 MALE CHORUS: I miss you, baby 431 00:24:04.887 --> 00:24:06.516 Don't cha hear me callin' to ya 432 00:24:06.599 --> 00:24:07.601 And I want you back 433 00:24:07.684 --> 00:24:09.855 Don't cha hear me callin' to ya 434 00:24:10.022 --> 00:24:11.734 I guess I'm crazy 435 00:24:11.818 --> 00:24:13.112 Don't cha hear me callin' to ya 436 00:24:13.278 --> 00:24:14.782 MALE CHORUS: But I want you back 437 00:24:14.865 --> 00:24:16.619 Don't cha hear me callin' to ya 438 00:24:16.786 --> 00:24:18.205 I told you, leave me 439 00:24:18.372 --> 00:24:20.752 MUSA: I remember watching the 5th Dimension. 440 00:24:20.919 --> 00:24:23.132 (SINGING) Don't cha hear me callin' to ya 441 00:24:23.298 --> 00:24:24.552 I'm cryin', baby 442 00:24:24.760 --> 00:24:27.306 MUSA: Their outfits were orange, 443 00:24:27.473 --> 00:24:28.601 but it was an orange, like, 444 00:24:28.685 --> 00:24:30.354 you know, remember the Creamsicles? 445 00:24:30.522 --> 00:24:31.524 (SINGING) I need ya, baby 446 00:24:31.607 --> 00:24:32.985 Don't cha hear me callin' to ya 447 00:24:33.152 --> 00:24:34.738 I'm going mad 448 00:24:34.905 --> 00:24:36.784 I thought they were a little extreme. 449 00:24:36.993 --> 00:24:38.287 MALE CHORUS: You know I love you 450 00:24:38.454 --> 00:24:39.832 YOUNG FLORENCE LARUE: Don't cha hear me callin' to ya 451 00:24:39.999 --> 00:24:41.251 MALE CHORUS: You know I care 452 00:24:41.334 --> 00:24:43.130 Don't cha hear me callin' to ya 453 00:24:43.297 --> 00:24:44.508 Can't you see I'm lonely 454 00:24:44.675 --> 00:24:46.929 MUSA: I remember looking at Marilyn McCoo. 455 00:24:47.096 --> 00:24:49.852 Don't cha hear me callin' to ya 456 00:24:50.478 --> 00:24:51.772 (SCATTING) 457 00:24:51.856 --> 00:24:53.693 MUSA: She was so beautiful 458 00:24:53.776 --> 00:24:56.364 that I was just, like, transfixed. 459 00:24:56.574 --> 00:24:57.659 I thought she was the most beautiful woman 460 00:24:57.743 --> 00:24:58.828 I'd ever seen in my life. 461 00:24:58.995 --> 00:25:01.834 God, she's my first crush. (LAUGHING) I mean, I guess. 462 00:25:01.918 --> 00:25:03.546 (CONTINUES SCATTING) 463 00:25:05.216 --> 00:25:06.301 Hey! Oh! 464 00:25:06.384 --> 00:25:08.806 McCOO: We were so excited about performing in Harlem. 465 00:25:08.973 --> 00:25:09.975 Callin' ya baby 466 00:25:10.142 --> 00:25:11.729 McCOO: It was the first time. 467 00:25:11.854 --> 00:25:12.940 Come on home 468 00:25:13.106 --> 00:25:14.108 DAVIS JR.: When we first hit, 469 00:25:14.275 --> 00:25:17.533 we came out of the box right into the pop charts. 470 00:25:18.158 --> 00:25:20.539 We were a group that just came together as friends 471 00:25:20.622 --> 00:25:21.958 from St. Louis, Missouri. 472 00:25:23.043 --> 00:25:24.838 McCOO: We wanted to sing R and B, pop. 473 00:25:25.005 --> 00:25:27.134 We wanted to have a jazz influence in it. 474 00:25:27.218 --> 00:25:28.805 (SCATTING) 475 00:25:32.061 --> 00:25:35.484 But everybody thought we were a white act. 476 00:25:35.652 --> 00:25:36.654 YOUNG DAVIS JR.: Thank you. 477 00:25:36.862 --> 00:25:38.365 DAVIS JR.: Until they saw a picture of the group 478 00:25:38.700 --> 00:25:41.956 and then they saw these Black folks in this balloon, 479 00:25:42.039 --> 00:25:44.377 ‐they said, "Wait a minute..." ‐(BOTH LAUGHING) 480 00:25:44.545 --> 00:25:46.757 "That's not what we expected," you know, 481 00:25:46.924 --> 00:25:49.178 but yet and still, here we come, you know? 482 00:25:51.141 --> 00:25:53.521 Back then, music was segregated. 483 00:25:53.730 --> 00:25:55.274 Pop groups weren't playing Black music 484 00:25:55.441 --> 00:25:57.946 and Black groups weren't playin' pop music. 485 00:25:58.113 --> 00:26:00.619 And so, we were caught in the middle. 486 00:26:04.208 --> 00:26:09.511 (SINGING) When the moon is in the Seventh House 487 00:26:09.678 --> 00:26:14.730 And Jupiter aligns with Mars 488 00:26:14.938 --> 00:26:19.907 Then peace will guide the planets 489 00:26:20.074 --> 00:26:23.080 And love will steer the stars 490 00:26:23.246 --> 00:26:27.923 This is the dawning of the age of Aquarius 491 00:26:28.090 --> 00:26:32.683 Age of Aquarius 492 00:26:32.849 --> 00:26:37.233 Aquarius 493 00:26:37.901 --> 00:26:41.617 Aquarius 494 00:26:43.286 --> 00:26:45.499 Harmony and understanding 495 00:26:45.667 --> 00:26:48.130 Sympathy and trust abounding 496 00:26:48.296 --> 00:26:50.008 No more falsehoods or derisions 497 00:26:50.175 --> 00:26:52.639 Golden living dreams of visions 498 00:26:52.806 --> 00:26:55.227 Mystic crystal revelation 499 00:26:55.394 --> 00:26:58.358 And the mind's true liberation 500 00:26:58.568 --> 00:27:03.118 Aquarius 501 00:27:03.285 --> 00:27:06.625 Aquarius 502 00:27:13.221 --> 00:27:15.643 When the moon is in the Seventh House 503 00:27:15.727 --> 00:27:17.731 MALE CHORUS: When the moon 504 00:27:18.023 --> 00:27:19.777 Boy, to hear that song, 505 00:27:19.860 --> 00:27:21.572 it brings back a lot of memories. 506 00:27:21.739 --> 00:27:25.538 When we first heard that song, in the production of Hair, 507 00:27:26.331 --> 00:27:28.961 we were workin' at the Americana in New York. 508 00:27:29.128 --> 00:27:31.424 Hair was the biggest thing going. 509 00:27:31.592 --> 00:27:33.386 People were standing around the corners, 510 00:27:33.554 --> 00:27:35.767 they were waitin' in lines, tryin' to get in 511 00:27:35.934 --> 00:27:38.731 because it's the first time they ever seen anybody 512 00:27:38.814 --> 00:27:40.610 ‐get naked on stage. ‐(LAUGHS) 513 00:27:40.777 --> 00:27:44.576 And we'd been tryin' to see that show for months. 514 00:27:44.743 --> 00:27:47.289 Then one day, I lost my wallet in a cab. 515 00:27:47.749 --> 00:27:50.045 A gentleman gets in behind and finds my wallet, 516 00:27:50.128 --> 00:27:51.924 calls me at the hotel. 517 00:27:52.091 --> 00:27:54.303 I went over to get it, I offered him some money. 518 00:27:54.470 --> 00:27:55.682 He didn't want no money. 519 00:27:55.848 --> 00:27:57.852 So I said, "Okay, I'll invite you over 520 00:27:57.936 --> 00:28:00.107 "to the Americana to see our show." 521 00:28:00.274 --> 00:28:02.946 After the show, we went backstage and he said, 522 00:28:03.113 --> 00:28:04.323 "Since you were so nice, 523 00:28:04.407 --> 00:28:06.160 "I'd like to invite you to see our show." 524 00:28:06.704 --> 00:28:09.041 I said, "What, then? What show have you got?" 525 00:28:09.208 --> 00:28:13.509 You know, he said he was one of the producers of Hair. 526 00:28:13.634 --> 00:28:15.805 ‐(LAUGHS) ‐Can you believe that? 527 00:28:16.389 --> 00:28:20.188 And we got in that day and we heard Aquarius. 528 00:28:20.355 --> 00:28:22.318 Blew us out of our chairs. 529 00:28:22.484 --> 00:28:24.615 McCOO: During the intermission, we got together and said, 530 00:28:24.781 --> 00:28:27.787 "We have to record that song. It's a hit, it's a hit." 531 00:28:27.954 --> 00:28:30.000 So we called Bones Howe, our producer, 532 00:28:30.167 --> 00:28:33.633 and he said, "I've got an idea. We'll take Aquarius 533 00:28:33.799 --> 00:28:37.056 "and we'll put it together with Let The Sunshine In." 534 00:28:37.222 --> 00:28:41.815 (SINGING) Aquarius 535 00:28:43.694 --> 00:28:46.700 DAVIS JR.: That was the biggest record of 1969. 536 00:28:52.962 --> 00:28:56.219 Let the sunshine 537 00:28:56.386 --> 00:28:59.392 Let the sunshine in 538 00:28:59.559 --> 00:29:03.609 The sunshine in 539 00:29:03.776 --> 00:29:06.782 Let the sunshine 540 00:29:06.949 --> 00:29:10.497 ‐Let it shine, come on ‐Let the sunshine in 541 00:29:10.665 --> 00:29:13.378 The sunshine in 542 00:29:13.546 --> 00:29:17.136 ‐Sing along ‐Let the sunshine 543 00:29:17.637 --> 00:29:20.518 ‐Let it shine ‐Let the sunshine in 544 00:29:20.685 --> 00:29:23.607 ‐Open up your heart ‐The sunshine in 545 00:29:23.774 --> 00:29:25.611 When you feel like you've been mistreated 546 00:29:25.695 --> 00:29:27.281 Let the sunshine 547 00:29:27.489 --> 00:29:29.619 McCOO: Billy laid all those wonderful gospel licks 548 00:29:29.703 --> 00:29:31.372 in his ad libs. 549 00:29:31.540 --> 00:29:34.629 Our producer said, "Okay, Billy, take it to church." 550 00:29:34.796 --> 00:29:37.426 ‐Yeah. ‐And Billy knew exactly what to do 551 00:29:37.594 --> 00:29:39.639 because Billy sang gospel in his teen years. 552 00:29:39.806 --> 00:29:43.773 You know, the 5th Dimension, we travel all over the world 553 00:29:43.939 --> 00:29:46.945 and our main purpose for travelin' 554 00:29:47.112 --> 00:29:50.745 is just to bring and spread a little love. 555 00:29:50.912 --> 00:29:53.959 Ain't nothing wrong with that, is there? Talk to me! 556 00:29:54.126 --> 00:29:56.088 McCOO: We were constantly being attacked 557 00:29:56.255 --> 00:29:58.343 because we weren't quote‐unquote "Black enough." 558 00:29:59.011 --> 00:30:02.309 Sometimes we were called "the Black group with the white sound." 559 00:30:02.476 --> 00:30:03.771 We didn't like that. 560 00:30:03.979 --> 00:30:05.817 We happened to be artists who are Black 561 00:30:05.983 --> 00:30:09.114 and our voices sound the way they sound. And how do you color... 562 00:30:09.281 --> 00:30:10.492 That used to be one of our questions. 563 00:30:10.660 --> 00:30:12.664 How do you color a sound? 564 00:30:12.956 --> 00:30:16.755 That was one of the reasons why performing in Harlem 565 00:30:16.839 --> 00:30:19.678 ‐was so important to us... ‐DAVIS JR.: Mmm‐hmm. 566 00:30:19.845 --> 00:30:21.640 ...because we wanted our people 567 00:30:21.723 --> 00:30:23.519 ‐to know what we were about. ‐Mmm‐hmm. 568 00:30:23.686 --> 00:30:26.525 And we were hoping that they would receive us. 569 00:30:27.025 --> 00:30:28.988 (SINGING) Come on and let 570 00:30:31.117 --> 00:30:33.288 Let it shine 571 00:30:33.371 --> 00:30:36.210 (VOCALIZING) 572 00:30:36.587 --> 00:30:38.966 Hey! Come on and let 573 00:30:39.133 --> 00:30:41.262 (CROWD CHEERING) 574 00:30:41.680 --> 00:30:43.893 ‐We were so happy to be there. ‐Yeah. 575 00:30:43.976 --> 00:30:47.567 (CROWD CONTINUES CHEERING) 576 00:30:56.250 --> 00:30:58.839 I didn't want to leave. I didn't want to leave her. 577 00:30:58.964 --> 00:31:02.847 (LAUGHING) Let's just be clear. 578 00:31:05.268 --> 00:31:08.232 DAVIS JR.: After the show, these kids came backstage, 579 00:31:08.316 --> 00:31:10.571 and it was so unexpected. 580 00:31:10.738 --> 00:31:12.407 It was my cousins. 581 00:31:12.575 --> 00:31:16.082 It was Ruth, Sheryl, and Maurice. 582 00:31:16.248 --> 00:31:18.671 And I'm saying to them, "What are you guys doin' here?" 583 00:31:18.837 --> 00:31:23.304 And they said, "Well, we're singin' with the Edwin Hawkins Singers." 584 00:31:23.471 --> 00:31:24.975 Which was on the festival 585 00:31:25.058 --> 00:31:26.310 ‐that year. ‐McCOO: That day. 586 00:31:26.477 --> 00:31:28.398 DAVIS JR.: And Edwin Hawkins was hot, you know. 587 00:31:28.565 --> 00:31:29.901 ‐McCOO: Oh Happy Day. ‐Oh Happy Day. 588 00:31:29.985 --> 00:31:31.445 Everybody was singin' that. 589 00:31:33.282 --> 00:31:35.328 (SINGING) Oh happy day 590 00:31:37.124 --> 00:31:40.881 ‐Oh happy day ‐Oh happy day 591 00:31:41.048 --> 00:31:45.558 ‐When Jesus washed ‐When Jesus washed 592 00:31:45.725 --> 00:31:48.856 ‐When he washed ‐When Jesus washed 593 00:31:49.023 --> 00:31:51.653 ‐When Jesus washed ‐When Jesus washed 594 00:31:51.820 --> 00:31:56.037 ‐He washed all my sins away ‐Oh happy day 595 00:31:56.203 --> 00:31:59.043 ‐Oh that's a happy day ‐Oh happy day 596 00:31:59.209 --> 00:32:01.422 CHORUS: He taught me how 597 00:32:01.590 --> 00:32:03.886 He taught me how, yeah 598 00:32:04.053 --> 00:32:08.227 ‐To watch, fight, and pray ‐Oh, oh, yeah 599 00:32:08.394 --> 00:32:10.983 I know, good God, oh, yes 600 00:32:11.150 --> 00:32:12.945 Fight and pray 601 00:32:14.657 --> 00:32:18.916 ‐Oh happy day, ooh, yeah ‐Oh happy day 602 00:32:19.083 --> 00:32:22.422 ‐Oh happy day ‐Oh happy day 603 00:32:22.590 --> 00:32:25.846 ‐Oh a happy day ‐Oh happy day 604 00:32:26.013 --> 00:32:29.353 ‐Can I get to heaven, my Lord? ‐Oh happy day 605 00:32:29.813 --> 00:32:31.525 I'm gonna spread the news, yeah 606 00:32:31.608 --> 00:32:33.319 Oh happy day 607 00:32:33.486 --> 00:32:34.697 People tell me that the streets 608 00:32:35.031 --> 00:32:36.952 It's amazing. 609 00:32:37.202 --> 00:32:38.329 Streets are paved with gold, yeah 610 00:32:38.412 --> 00:32:39.498 Oh happy day 611 00:32:39.582 --> 00:32:41.418 KRYOR: Looking at all the people on the stage. 612 00:32:41.503 --> 00:32:44.424 My first reaction was, "My God." 613 00:32:44.592 --> 00:32:46.596 DOROTHY: (SINGING) They tell me you got that in heaven, my Lord 614 00:32:46.680 --> 00:32:47.974 CHORUS: Oh happy day 615 00:32:48.141 --> 00:32:49.351 They tell me you got that in heaven, my Lord 616 00:32:49.519 --> 00:32:51.982 KRYOR: The Edwin Hawkins Singers were from all over the Bay Area. 617 00:32:52.149 --> 00:32:54.863 San Francisco, Oakland, Berkeley area. 618 00:32:55.155 --> 00:32:57.284 Edwin was minister of music at our church, 619 00:32:57.450 --> 00:32:59.204 the Ephesian Church of God in Christ. 620 00:32:59.371 --> 00:33:01.793 Walter Hawkins is Edwin's baby brother. 621 00:33:01.960 --> 00:33:03.212 Both of those guys, 622 00:33:03.296 --> 00:33:05.885 very consecrated young men. They loved the Lord. 623 00:33:06.093 --> 00:33:08.097 Edwin would put our choir on a fast. 624 00:33:08.181 --> 00:33:09.809 We would fast and pray. 625 00:33:10.936 --> 00:33:12.607 (SINGING) I'm gonna spread the news, yeah 626 00:33:12.690 --> 00:33:14.193 CHORUS: Oh happy day 627 00:33:14.276 --> 00:33:15.779 I'm gonna walk around 628 00:33:15.863 --> 00:33:16.865 ‐My Lord ‐Oh happy day 629 00:33:16.948 --> 00:33:18.326 KRYOR: When Oh Happy Day was recorded, 630 00:33:18.409 --> 00:33:20.246 San Francisco DJs heard the song 631 00:33:20.413 --> 00:33:22.877 and put it on rotation until it made it number one. 632 00:33:23.044 --> 00:33:25.256 The Ed Hawkins Singers from KDIA 633 00:33:25.465 --> 00:33:29.181 held on to the number‐one spot for four consecutive weeks. 634 00:33:29.348 --> 00:33:30.809 INTERVIEWER: Ed, what effect has all this 635 00:33:30.893 --> 00:33:33.982 sudden fame and fortune had on the choir and yourself? 636 00:33:34.107 --> 00:33:35.653 It's a lot of excitement going on 637 00:33:35.736 --> 00:33:37.280 and I'm very happy about it. 638 00:33:37.447 --> 00:33:39.201 KRYOR: We started ministering in clubs 639 00:33:39.368 --> 00:33:42.249 and ministering with secular artists on stages like Harlem. 640 00:33:42.332 --> 00:33:43.794 ‐Happy day ‐Oh happy day 641 00:33:44.253 --> 00:33:47.843 ‐When Jesus washed ‐When Jesus washed 642 00:33:48.010 --> 00:33:51.559 ‐I'm so glad that he washed ‐When Jesus washed 643 00:33:51.726 --> 00:33:54.231 ‐I said the Lord washed ‐When Jesus washed 644 00:33:54.398 --> 00:33:56.736 He washed all my sins away 645 00:33:56.903 --> 00:33:58.740 KRYOR: But when Oh Happy Day broke, 646 00:33:58.824 --> 00:34:00.661 the church was upset about it. 647 00:34:00.828 --> 00:34:02.707 We were part of the Pentecostal movement. 648 00:34:02.873 --> 00:34:04.919 You didn't drink. You didn't dance. 649 00:34:05.086 --> 00:34:08.134 You didn't go to clubs, so we were persecuted. 650 00:34:08.301 --> 00:34:10.556 It was very humiliating. Mmm‐hmm. 651 00:34:10.806 --> 00:34:13.562 But we felt like the world needed Oh Happy Day. 652 00:34:13.729 --> 00:34:15.649 HAWKINS: With the situation of the world today, 653 00:34:15.816 --> 00:34:17.611 a lot of people don't believe in God anymore. 654 00:34:17.778 --> 00:34:19.949 They don't go to church. Especially our youth. 655 00:34:20.158 --> 00:34:21.619 It's really messed up, confused, 656 00:34:21.786 --> 00:34:23.205 they don't know who to turn to, which way to go, 657 00:34:23.372 --> 00:34:24.416 so they're trying this and that 658 00:34:24.499 --> 00:34:26.086 and they're not finding satisfaction. 659 00:34:27.130 --> 00:34:29.259 And I feel with young people such as our group, 660 00:34:29.426 --> 00:34:31.013 instead of us trying to take the gospel to them 661 00:34:31.096 --> 00:34:32.182 by preaching to them, 662 00:34:32.349 --> 00:34:34.436 take it to them in song, maybe, 663 00:34:34.520 --> 00:34:35.522 with contemporary sounds, 664 00:34:35.606 --> 00:34:38.027 new beats, new rhythms, something they can understand, 665 00:34:38.194 --> 00:34:41.200 something they can feel and express themselves in. 666 00:34:41.367 --> 00:34:43.245 We can show them that God yet lives. 667 00:34:43.412 --> 00:34:44.414 Please, oh, Lord 668 00:34:44.498 --> 00:34:47.212 ‐Take me for your city ‐Oh happy day 669 00:34:47.379 --> 00:34:50.719 ‐And then you fill me ‐Oh happy day 670 00:34:50.886 --> 00:34:53.600 ‐Oh, yeah! ‐Oh happy day 671 00:34:53.767 --> 00:34:58.944 ‐Oh, yes it was ‐Oh happy day 672 00:35:05.498 --> 00:35:07.545 (CROWD CHEERING) 673 00:35:08.003 --> 00:35:10.801 LAWRENCE: Welcome to the gospel music day. 674 00:35:10.968 --> 00:35:14.307 Gospel folks from all over the country are here today 675 00:35:14.474 --> 00:35:15.853 to spread the spirit. 676 00:35:16.019 --> 00:35:17.105 So, come on in here. 677 00:35:17.188 --> 00:35:19.569 Get close to me so we can feel the spirit. 678 00:35:19.736 --> 00:35:23.200 All right? All right? Okay. 679 00:35:23.367 --> 00:35:24.871 All right, that's enough, that's enough. 680 00:35:24.954 --> 00:35:26.123 All right, that's enough. 681 00:35:26.290 --> 00:35:27.292 Let's calm it down now. 682 00:35:27.375 --> 00:35:29.296 Look, let's take it down a little bit. 683 00:35:29.881 --> 00:35:33.471 Direct from Chicago to the heart of Harlem, 684 00:35:33.638 --> 00:35:37.270 Papa Staple and the Staple Singers. 685 00:35:37.437 --> 00:35:39.525 (CROWD CHEERING) 686 00:35:41.236 --> 00:35:42.322 (SINGING) Sittin' around on a mourner's bench 687 00:35:42.489 --> 00:35:43.992 I heard an old lady and an amen 688 00:35:44.075 --> 00:35:45.328 Come again to pray 689 00:35:45.495 --> 00:35:47.457 And she began to moan 690 00:35:47.541 --> 00:35:49.545 (VOCALIZING) 691 00:35:52.551 --> 00:35:54.597 Yeah, yeah, yeah 692 00:35:55.014 --> 00:35:57.268 Oh, yes, sir 693 00:35:57.435 --> 00:35:59.022 Then I went ahead and asked her 694 00:35:59.105 --> 00:36:00.651 She was Emma Sue 695 00:36:00.818 --> 00:36:02.988 Emma Sue 696 00:36:06.161 --> 00:36:09.209 I've got to move 697 00:36:22.778 --> 00:36:23.947 Oh, get out here 698 00:36:24.114 --> 00:36:28.874 Oh, hear me sing, Lord No, I can't help myself 699 00:36:29.040 --> 00:36:31.169 ‐But you, Lord above ‐Yeah 700 00:36:31.336 --> 00:36:33.257 ‐Help me, Lord Jesus ‐Yeah 701 00:36:33.424 --> 00:36:35.554 ‐Give me more faith ‐Yeah 702 00:36:35.721 --> 00:36:37.600 ‐I need your power ‐Yeah 703 00:36:37.766 --> 00:36:40.021 Help me to run this race 704 00:36:40.187 --> 00:36:42.233 Help me, Jesus Help me, Jesus 705 00:36:42.400 --> 00:36:44.112 Help me, Jesus Help me, Lord 706 00:36:44.279 --> 00:36:46.199 MAVIS: When I looked out into the crowd, 707 00:36:46.283 --> 00:36:49.456 I was overtaken with joy. 708 00:36:49.540 --> 00:36:51.794 Help me, Jesus Help me, Jesus 709 00:36:51.961 --> 00:36:54.717 MAVIS: I just saw so many Black people, 710 00:36:54.800 --> 00:36:56.136 and they were rejoicing. 711 00:36:56.303 --> 00:36:58.432 They were havin' a good time, 712 00:36:58.516 --> 00:37:00.646 and I started celebratin' with them. 713 00:37:00.854 --> 00:37:02.775 ‐When Jesus helped me ‐Well, well 714 00:37:02.942 --> 00:37:04.904 ‐When Jesus helped me ‐Give us time to get some 715 00:37:05.071 --> 00:37:07.033 ‐When Jesus helped me ‐We forgive all day 716 00:37:07.200 --> 00:37:10.039 ‐When Jesus helped me ‐Believe 717 00:37:10.206 --> 00:37:13.462 MAVIS: In 1969, we were singin' gospel, 718 00:37:13.630 --> 00:37:16.301 but we would be invited to folk festivals, 719 00:37:16.385 --> 00:37:18.640 jazz festivals, blues... 720 00:37:18.807 --> 00:37:20.226 I told Pops, I said, 721 00:37:20.393 --> 00:37:22.313 "Daddy, why these people invitin' us 722 00:37:22.397 --> 00:37:25.361 "to blues festivals, but we don't sing no blues?" 723 00:37:25.529 --> 00:37:28.158 He said, "Mavis, listen to our music. 724 00:37:28.325 --> 00:37:31.708 "You will hear every kind of music in our songs." 725 00:37:31.874 --> 00:37:34.295 (SINGING) Whoa, we are going to Heaven 726 00:37:34.379 --> 00:37:36.174 Just say amen 727 00:37:36.341 --> 00:37:40.391 Just say amen Just say amen 728 00:37:40.559 --> 00:37:42.186 Just say amen Let me hear you sing it now 729 00:37:42.353 --> 00:37:45.694 MAVIS: In fact, it was years before my sisters and I 730 00:37:45.861 --> 00:37:48.742 knew Pops was playin' the blues on his guitar 731 00:37:48.908 --> 00:37:52.248 while we were singin' gospel. (LAUGHING) 732 00:37:52.541 --> 00:37:55.212 We said, "Daddy, you're playin' the blues." 733 00:37:55.379 --> 00:37:57.551 He said, "That's the way I learned." 734 00:37:57.718 --> 00:37:59.304 YOUNG MAVIS: (SINGING) Yeah, don't you need him now? 735 00:37:59.387 --> 00:38:00.389 Yeah 736 00:38:00.974 --> 00:38:03.103 MAVIS: Pops was born in Mississippi. 737 00:38:03.270 --> 00:38:05.441 He came out of school in the eighth grade, 738 00:38:05.525 --> 00:38:07.696 started working at Dockery's farm. 739 00:38:07.863 --> 00:38:09.282 He didn't know music, 740 00:38:09.365 --> 00:38:11.662 but he taught himself to play guitar. 741 00:38:11.829 --> 00:38:14.375 The first guitar I bought, I paid five dollars for it. 742 00:38:14.543 --> 00:38:15.796 ‐INTERVIEWER: Five dollars. ‐Five dollars. 743 00:38:15.879 --> 00:38:16.881 Where did you get the five dollars? 744 00:38:16.964 --> 00:38:18.008 Picking cotton plants. 745 00:38:18.092 --> 00:38:19.135 INTERVIEWER: Were you? And how much 746 00:38:19.219 --> 00:38:20.304 did you make about a day? 747 00:38:20.471 --> 00:38:23.393 ‐I made three dollars a week. ‐Three dollars a week? 748 00:38:23.561 --> 00:38:27.110 50 cents a day, 14 hours a day. 749 00:38:27.193 --> 00:38:28.822 It wasn't easy. It was tough. 750 00:38:28.988 --> 00:38:30.324 ‐YOUNG MAVIS: Over here ‐Amen 751 00:38:30.491 --> 00:38:32.286 ‐Help you, yeah ‐Amen 752 00:38:32.453 --> 00:38:34.374 ‐Clap your hands over here ‐Amen 753 00:38:34.542 --> 00:38:36.378 Let me hear you clap your hands 754 00:38:36.546 --> 00:38:38.006 Well, now do you feel all right now? 755 00:38:38.173 --> 00:38:40.386 MAVIS: When we first started singin', 756 00:38:40.469 --> 00:38:42.390 people thought we were old people 757 00:38:42.558 --> 00:38:44.394 'cause we were singin' these old songs 758 00:38:44.562 --> 00:38:47.734 that Pops and his family used to sing in Mississippi. 759 00:38:47.901 --> 00:38:49.279 ‐Do you feel all right? ‐Amen 760 00:38:49.445 --> 00:38:50.447 Do you feel all right? 761 00:38:50.532 --> 00:38:52.160 GREG TATE: There's something very specific 762 00:38:52.243 --> 00:38:53.746 about what happened in Black America 763 00:38:53.913 --> 00:38:57.336 where I think the only place we could be fully expressive 764 00:38:57.504 --> 00:38:59.884 was in music, was in these church rituals. 765 00:39:00.176 --> 00:39:01.469 YOUNG MAVIS: (SINGING) Help me, Lord 766 00:39:01.637 --> 00:39:04.685 TATE: Gospel was channeling the emotional core of Black people 767 00:39:04.852 --> 00:39:06.647 who were insiders as Christian. 768 00:39:06.814 --> 00:39:09.277 They experienced and redefined it for themselves 769 00:39:09.444 --> 00:39:10.697 and that goes all the way back 770 00:39:10.864 --> 00:39:12.868 to the first moments, probably, 771 00:39:12.951 --> 00:39:14.663 of Black conversion to Christianity. 772 00:39:14.830 --> 00:39:17.501 Come on and throw down Sing and shout 773 00:39:17.878 --> 00:39:20.508 ‐Nobody there to put me down ‐Holler 774 00:39:20.675 --> 00:39:21.719 Look up there 775 00:39:21.802 --> 00:39:23.430 ‐In the heat of the day ‐Holler 776 00:39:23.514 --> 00:39:24.642 Filled up my heart 777 00:39:24.725 --> 00:39:26.186 ‐Then began to say ‐Holler 778 00:39:27.480 --> 00:39:29.902 TATE: There's this notion of spirit possession 779 00:39:29.985 --> 00:39:31.196 that comes from Africa. 780 00:39:34.160 --> 00:39:35.747 It's a part of seeking 781 00:39:35.830 --> 00:39:37.626 a certain kind of release and catharsis. 782 00:39:38.711 --> 00:39:40.799 ‐(UPBEAT MUSIC PLAYING) ‐(ALL CHANTING) 783 00:39:57.624 --> 00:40:00.004 TATE: This is an eruption of spirit 784 00:40:00.170 --> 00:40:01.674 to arrive at an inner peace 785 00:40:01.757 --> 00:40:04.178 through being completely expressively open. 786 00:40:04.345 --> 00:40:06.224 (VOCALIZING) 787 00:40:09.147 --> 00:40:11.694 (SINGING) Wrapped, tied Wrapped and tangled 788 00:40:11.861 --> 00:40:13.823 I am wrapped and tangled 789 00:40:14.282 --> 00:40:17.079 Wrapped, tied and tangled Wrapped, tied and tangled 790 00:40:17.246 --> 00:40:20.461 Wrapped, tied and tangled Wrapped, tied and tangled 791 00:40:20.628 --> 00:40:24.010 Wrapped, tied and tangled Wrapped, tied and tangled 792 00:40:24.177 --> 00:40:25.597 ‐Wrapped, tied and tangled ‐Are you wrapped 793 00:40:25.764 --> 00:40:27.183 ‐Wrapped, tied and tangled ‐Are you wrapped 794 00:40:27.350 --> 00:40:28.770 ‐Wrapped, tied and tangled ‐Are you wrapped 795 00:40:28.936 --> 00:40:30.272 ‐Wrapped, tied and tangled ‐Are you wrapped 796 00:40:30.439 --> 00:40:31.942 ‐Wrapped, tied and tangled ‐Are you wrapped 797 00:40:32.109 --> 00:40:33.111 ‐Wrapped, tied and tangled ‐Are you wrapped 798 00:40:33.278 --> 00:40:35.825 ‐Oh, yeah, wrapped over here ‐Wrapped, tied and tangled 799 00:40:35.992 --> 00:40:39.082 SHARPTON: Gospel was more than religious. 800 00:40:39.248 --> 00:40:43.215 Gospel was the therapy for the stress and pressure 801 00:40:43.298 --> 00:40:45.052 of being Black in America. 802 00:40:45.219 --> 00:40:48.851 We didn't go to a psychiatrist, we didn't go lay on a couch, 803 00:40:49.102 --> 00:40:51.481 we didn't know anything about therapists, 804 00:40:51.565 --> 00:40:53.110 but we knew Mahalia Jackson. 805 00:40:53.276 --> 00:40:54.822 (SINGING) While I'm singin' I'm holy 806 00:40:54.905 --> 00:40:57.451 Lord, search my heart 807 00:40:57.661 --> 00:41:02.086 While I'm singin' I'm holy Lord, search my heart 808 00:41:02.546 --> 00:41:07.096 While I'm singin' I'm holy Lord, search my heart 809 00:41:07.179 --> 00:41:08.975 (SCATTING) 810 00:41:22.418 --> 00:41:24.297 CHARLAYNE HUNTER‐GAULT: Gospel's part of our DNA. 811 00:41:25.508 --> 00:41:27.804 It's deep in the recesses of my consciousness. 812 00:41:28.723 --> 00:41:31.060 My grandfather was a minister. 813 00:41:31.227 --> 00:41:33.733 My father was a chaplain in World War II, 814 00:41:33.816 --> 00:41:34.985 the Korean War. 815 00:41:35.152 --> 00:41:37.406 That religious consciousness 816 00:41:37.490 --> 00:41:39.703 kept him and so many others going. 817 00:41:39.870 --> 00:41:44.378 During the civil rights movement, the church provided sustenance for us, 818 00:41:44.546 --> 00:41:46.299 helped us march on, 819 00:41:46.466 --> 00:41:48.721 helped generations of people 820 00:41:48.804 --> 00:41:52.102 confront some of the most vicious, violent acts. 821 00:41:53.104 --> 00:41:56.862 They took the great Martin Luther King from us. 822 00:41:57.029 --> 00:42:00.995 They took the great John Kennedy from us. 823 00:42:01.204 --> 00:42:03.709 They took the great Bobby Kennedy, 824 00:42:03.876 --> 00:42:05.547 but most of all from Harlem 825 00:42:05.630 --> 00:42:07.759 ‐they took Malcolm X from us! ‐(CROWD AGREEING) 826 00:42:07.926 --> 00:42:09.680 Now listen! Now wait a minute! 827 00:42:09.846 --> 00:42:14.063 God knows a whole lot of generations of Black folks here. 828 00:42:14.230 --> 00:42:16.569 We're gonna make history right here with the Black and the white 829 00:42:16.652 --> 00:42:18.614 and the Spanish and the Puerto Rican people 830 00:42:18.698 --> 00:42:20.033 right here today. 831 00:42:20.910 --> 00:42:23.541 We'd like to introduce Reverend Jesse Jackson 832 00:42:23.708 --> 00:42:27.298 and Ben Branch and Operation Breadbasket band. 833 00:42:28.801 --> 00:42:31.472 YOUNG JESSE JACKSON: Brothers and sisters here in Harlem, 834 00:42:31.932 --> 00:42:35.898 I want us to prepare to bow our heads in prayer. 835 00:42:38.445 --> 00:42:42.579 It does not really matter who your God is, 836 00:42:42.746 --> 00:42:45.627 whether you call him Allah, 837 00:42:45.793 --> 00:42:51.930 Zen Buddha, Jehovah, Elohim or Yahweh... 838 00:42:53.099 --> 00:42:56.397 SHARPTON: Ben Branch was a saxophone player from Memphis. 839 00:42:56.565 --> 00:43:00.405 When Reverend Jackson started the Operation Breadbasket rallies, 840 00:43:00.615 --> 00:43:02.451 Ben put an orchestra together. 841 00:43:02.619 --> 00:43:04.956 I was youth director of Operation Breadbasket 842 00:43:05.165 --> 00:43:08.088 and we put pressure on the private sector 843 00:43:08.171 --> 00:43:09.841 to contract Black businesses, 844 00:43:10.008 --> 00:43:11.469 give us shelf space, 845 00:43:11.553 --> 00:43:13.014 put Blacks on corporate boards, 846 00:43:13.181 --> 00:43:15.102 or we would boycott and we would picket them. 847 00:43:15.268 --> 00:43:20.822 And so today we will throw up around here justice pickets. 848 00:43:22.951 --> 00:43:25.497 SHARPTON: Ben Branch was always revered 849 00:43:25.581 --> 00:43:27.042 by the kids like me 850 00:43:28.587 --> 00:43:31.635 because Doctor King's last words was to Ben. 851 00:43:35.935 --> 00:43:37.856 YOUNG JESSE: We want sister Mahalia, 852 00:43:37.939 --> 00:43:39.316 Mavis Staples 853 00:43:39.483 --> 00:43:40.987 and all of our groups together 854 00:43:41.070 --> 00:43:43.868 to prepare to do, as our prayer today... 855 00:43:44.034 --> 00:43:45.872 Precious Lord. 856 00:43:49.880 --> 00:43:52.384 MAVIS: Precious Lord, Take My Hand 857 00:43:52.677 --> 00:43:54.765 was Doctor King's favorite song 858 00:43:54.931 --> 00:43:59.315 and sister Mahalia Jackson was my idol. 859 00:43:59.482 --> 00:44:03.114 She was my hero. I loved her so much. 860 00:44:03.281 --> 00:44:05.828 This day, I sit right next to her 861 00:44:06.037 --> 00:44:08.626 and when came time for her to sing, 862 00:44:08.709 --> 00:44:13.092 she leaned over and told me, "Baby, Halie don't feel too good today. 863 00:44:13.259 --> 00:44:15.598 "I need you to help me sing this song." 864 00:44:15.765 --> 00:44:17.852 And I said, "Yes, ma'am, I'll help you." 865 00:44:19.146 --> 00:44:23.321 Precious Lord is of course so meaningful to us 866 00:44:23.948 --> 00:44:26.452 who was in Memphis on that fateful day. 867 00:44:27.454 --> 00:44:30.001 JESSE: Memphis, Lorraine Motel. 868 00:44:30.085 --> 00:44:32.757 April third, '68. 869 00:44:32.924 --> 00:44:34.636 We stayed in the room all day long 870 00:44:34.803 --> 00:44:36.640 playing, throwing pillows on the bed, 871 00:44:36.723 --> 00:44:38.936 we were trying to relax. 872 00:44:39.144 --> 00:44:41.357 We went to Mason Temple that night, 873 00:44:41.525 --> 00:44:44.154 it was raining, lightning was flashing. 874 00:44:44.321 --> 00:44:47.035 Doctor King gave the Mountaintop speech. 875 00:44:47.202 --> 00:44:48.998 MARTIN LUTHER KING: And he's allowed me to go 876 00:44:49.081 --> 00:44:50.918 up to the mountain. 877 00:44:51.085 --> 00:44:53.716 And I've looked over 878 00:44:53.799 --> 00:44:57.180 and I've seen the promised land. 879 00:44:57.347 --> 00:44:58.809 YOUNG JESSE: He saw it! 880 00:45:02.734 --> 00:45:04.696 (AUDIENCE APPLAUDING) 881 00:45:11.042 --> 00:45:13.129 JESSE: Next day was April fourth, 882 00:45:13.296 --> 00:45:16.845 we were prepared to perform for Doctor King that night at the rally. 883 00:45:17.680 --> 00:45:20.310 YOUNG JESSE: On that fateful day, 884 00:45:20.477 --> 00:45:23.191 Ben Branch and I were walking together. 885 00:45:24.527 --> 00:45:27.742 As we walked across the courtyard, 886 00:45:27.909 --> 00:45:32.919 Doctor King came to the door full of glee and joy. 887 00:45:34.338 --> 00:45:37.929 And then he said, "Jesse, it's time to eat." 888 00:45:39.808 --> 00:45:43.189 He said, "Jesse, you don't even have a tie for dinner." 889 00:45:44.901 --> 00:45:48.491 And he said to Ben, 890 00:45:48.659 --> 00:45:51.330 "You should play my favorite song, My Precious Lord." 891 00:45:53.167 --> 00:45:54.169 He raised up and pow! 892 00:46:03.731 --> 00:46:07.446 YOUNG JESSE: Doctor King laid there with his spine severed 893 00:46:07.613 --> 00:46:09.993 and his face blown off, 894 00:46:10.160 --> 00:46:13.584 but he didn't die crying and die afraid. 895 00:46:13.751 --> 00:46:16.923 He died asking the Lord to lead his hand, 896 00:46:17.090 --> 00:46:20.765 to help him lead us, all of us. 897 00:46:22.935 --> 00:46:24.939 MAVIS: I just wanted to shout. 898 00:46:25.608 --> 00:46:28.864 And, Lord, standing there with sister Mahalia Jackson, 899 00:46:29.156 --> 00:46:31.745 I got up and I started that song. 900 00:46:31.912 --> 00:46:35.376 It was just an unreal moment for me. 901 00:46:38.466 --> 00:46:44.103 YOUNG MAVIS: (SINGING) Precious Lord 902 00:46:46.525 --> 00:46:47.860 (CROWD SHOUTING IN RESPONSE) 903 00:46:49.864 --> 00:46:53.872 Take my hand 904 00:46:58.464 --> 00:47:02.682 Lead me on 905 00:47:02.849 --> 00:47:05.771 Yeah, oh, yeah 906 00:47:05.938 --> 00:47:11.533 Oh, yeah, oh, yeah, let me stand 907 00:47:15.290 --> 00:47:20.676 I am tired 908 00:47:20.843 --> 00:47:23.055 Yes, I am 909 00:47:23.222 --> 00:47:28.942 I'm weak 910 00:47:32.617 --> 00:47:36.958 Lord, yeah, Lord, yeah 911 00:47:37.125 --> 00:47:42.093 I am worn, hey, yeah 912 00:47:44.223 --> 00:47:47.647 But through 913 00:47:49.734 --> 00:47:54.994 Through the storm 914 00:47:56.915 --> 00:48:00.881 Yeah, yeah, yeah 915 00:48:02.635 --> 00:48:05.265 Through the night 916 00:48:07.979 --> 00:48:10.149 Lead 917 00:48:10.316 --> 00:48:15.995 Lead me on 918 00:48:16.161 --> 00:48:19.711 To the light 919 00:48:22.257 --> 00:48:24.804 Take 920 00:48:24.971 --> 00:48:27.601 Take my hand 921 00:48:30.064 --> 00:48:36.327 Precious Lord 922 00:48:38.331 --> 00:48:43.675 And lead, lead me home 923 00:48:45.679 --> 00:48:48.685 (CROWD APPLAUDING) 924 00:48:55.073 --> 00:48:58.496 When my way 925 00:49:03.422 --> 00:49:08.600 Groweth drear 926 00:49:13.234 --> 00:49:18.620 Precious Lord 927 00:49:23.755 --> 00:49:26.135 Lord 928 00:49:26.301 --> 00:49:31.771 I want you to linger near 929 00:49:31.938 --> 00:49:34.735 Lord, you know, Lord 930 00:49:36.948 --> 00:49:42.333 When my light 931 00:49:44.672 --> 00:49:51.644 Is almost 932 00:49:53.857 --> 00:49:57.197 Gone 933 00:50:00.119 --> 00:50:02.666 Oh, Lord 934 00:50:02.833 --> 00:50:05.129 You know, Lord 935 00:50:05.296 --> 00:50:07.843 You know, Lord 936 00:50:08.010 --> 00:50:12.770 And through the storm 937 00:50:13.187 --> 00:50:15.984 (VOCALIZING) 938 00:50:29.135 --> 00:50:30.514 Oh, I will stand 939 00:50:30.681 --> 00:50:31.933 YOUNG MAVIS: Yeah! 940 00:50:32.141 --> 00:50:35.816 ‐Oh, light my feet ‐Light my feet 941 00:50:35.983 --> 00:50:39.991 Whoa, yeah 942 00:50:40.157 --> 00:50:41.493 ‐Hold me, Lord ‐Hold 943 00:50:41.661 --> 00:50:43.080 ‐Hold me, Lord ‐Hold 944 00:50:43.247 --> 00:50:44.834 ‐I want you to hold me ‐Hold 945 00:50:45.001 --> 00:50:46.169 ‐Take me to you ‐Hold 946 00:50:46.336 --> 00:50:47.673 ‐Take me to you ‐Hold 947 00:50:47.840 --> 00:50:49.175 ‐Hold on to me ‐Hold 948 00:50:49.342 --> 00:50:50.721 ‐Hold on to me ‐Hold 949 00:50:50.887 --> 00:50:52.432 I need ya 950 00:50:52.683 --> 00:50:54.562 (VOCALIZING) 951 00:50:54.812 --> 00:50:59.697 Precious Lord 952 00:50:59.864 --> 00:51:03.078 Take 953 00:51:03.245 --> 00:51:06.335 (VOCALIZING) 954 00:51:18.610 --> 00:51:20.989 Oh, your child 955 00:51:21.156 --> 00:51:24.204 Lead your child home 956 00:51:24.371 --> 00:51:26.626 Home 957 00:51:26.793 --> 00:51:31.176 Oh, yeah 958 00:51:34.224 --> 00:51:36.771 (CROWD CHEERING AND APPLAUDING) 959 00:51:37.355 --> 00:51:41.698 MAVIS: Man, I'm tellin' you, that was the time of my life. 960 00:51:42.240 --> 00:51:44.285 When she gave me that microphone back, 961 00:51:44.369 --> 00:51:46.415 I said, "Oh, she likes what I'm doin'." (CHUCKLES) 962 00:52:02.740 --> 00:52:03.992 And I was honored. 963 00:52:04.159 --> 00:52:07.165 I'm tellin' you, that is still my biggest honor 964 00:52:07.331 --> 00:52:10.045 to be able to sing on the same microphone 965 00:52:10.129 --> 00:52:12.008 with sister Mahalia Jackson. 966 00:52:12.133 --> 00:52:14.597 She remains the greatest. 967 00:52:17.018 --> 00:52:18.855 And when you talk about music, 968 00:52:19.022 --> 00:52:22.780 this Black festival is some of every kind, 969 00:52:22.946 --> 00:52:24.950 is some of every style. 970 00:52:25.117 --> 00:52:29.334 Jazz, blues, gospel, all of it is good. 971 00:52:29.585 --> 00:52:32.006 All of it makes you feel good. 972 00:52:36.808 --> 00:52:38.603 (AUDIENCE CHEERING) 973 00:52:38.978 --> 00:52:41.233 LAWRENCE: Ladies and gentlemen, 974 00:52:41.399 --> 00:52:42.903 that was only the first 15 minutes 975 00:52:42.986 --> 00:52:46.243 of Black history going on here in Harlem. 976 00:52:47.913 --> 00:52:50.877 LEWIS: The festival was such a cross‐section 977 00:52:50.961 --> 00:52:53.842 of the music that was happening at the time. 978 00:52:54.008 --> 00:52:55.679 LAWRENCE: We got a few surprises comin' up here. 979 00:52:55.846 --> 00:52:59.227 People that you didn't even know thought about what it's all about. 980 00:52:59.435 --> 00:53:00.564 Some people came 981 00:53:00.647 --> 00:53:02.651 because they were truly into the music. 982 00:53:03.110 --> 00:53:04.947 Some came for one act. 983 00:53:05.364 --> 00:53:07.201 LAWRENCE: And now, ladies and gentlemen, 984 00:53:07.368 --> 00:53:09.582 Motown moves to Soulville 985 00:53:09.665 --> 00:53:12.420 here in Harlem in Mount Morris Park. 986 00:53:12.629 --> 00:53:15.677 LEWIS: My group of friends loved Motown. 987 00:53:15.844 --> 00:53:19.475 One of the greatest song stylists of our time. 988 00:53:19.852 --> 00:53:22.356 He's a superstar. 989 00:53:22.524 --> 00:53:28.661 He's tall, dark, handsome... 990 00:53:28.745 --> 00:53:30.372 (CROWD CHEERING) 991 00:53:31.374 --> 00:53:34.297 David Ruffin! 992 00:53:34.380 --> 00:53:36.301 (CROWD CHEERING) 993 00:53:37.638 --> 00:53:41.227 I'd like to go back to the olden days, huh? 994 00:53:41.394 --> 00:53:44.902 To the thing I have for you. Simply goes like this... 995 00:53:45.069 --> 00:53:48.367 (SINGING) I've got sunshine, whoo... 996 00:53:49.327 --> 00:53:51.916 On a cloudy day 997 00:53:53.920 --> 00:53:57.594 Whenever it's cold outside 998 00:53:57.761 --> 00:53:59.848 I've got the month of May 999 00:54:00.015 --> 00:54:02.144 Can I get you to sing along with me one time? 1000 00:54:02.311 --> 00:54:04.065 Well, I guess 1001 00:54:04.232 --> 00:54:07.446 ‐AUDIENCE: I guess you'd say ‐I can't hear you. 1002 00:54:07.614 --> 00:54:11.622 What can make me feel this way 1003 00:54:11.789 --> 00:54:13.710 RUFFIN: It's my girl 1004 00:54:15.964 --> 00:54:18.636 Talking about my girl, yeah 1005 00:54:20.222 --> 00:54:25.608 I've got so much honey 1006 00:54:25.775 --> 00:54:29.407 The bees envy me Yes, darlin' 1007 00:54:29.575 --> 00:54:33.331 And I've got a sweeter song 1008 00:54:33.498 --> 00:54:35.628 Than any bird in any tree 1009 00:54:35.795 --> 00:54:37.716 How you doing, brother? Whoo! 1010 00:54:37.841 --> 00:54:43.268 Well, I guess you would say 1011 00:54:43.435 --> 00:54:45.314 What pretty new girl could 1012 00:54:45.397 --> 00:54:48.028 Make a man like me feel this way? 1013 00:54:48.236 --> 00:54:52.579 It's my girl, whoa, baby 1014 00:54:52.746 --> 00:54:55.627 Talkin' about nobody but my girl 1015 00:54:55.710 --> 00:54:58.633 (VOCALIZING) 1016 00:55:05.772 --> 00:55:07.776 LEWIS: David had just left the Temptations. 1017 00:55:07.943 --> 00:55:09.362 (SINGING) Hey, hey‐hey‐hey 1018 00:55:09.530 --> 00:55:11.157 LEWIS: The Temptations were my guys. 1019 00:55:11.324 --> 00:55:12.536 I wanna hear you sing! 1020 00:55:12.744 --> 00:55:15.249 My friends and I, we were suit‐and‐tie guys. 1021 00:55:15.415 --> 00:55:17.378 We thought we were the backups. 1022 00:55:17.546 --> 00:55:19.090 We couldn't sing, we couldn't do anything, 1023 00:55:19.257 --> 00:55:21.846 but we thought we could dance, we had all the moves down. 1024 00:55:22.012 --> 00:55:27.481 I've got all the riches, baby One sweet man can claim 1025 00:55:27.649 --> 00:55:29.318 I love you, too, darling. 1026 00:55:29.485 --> 00:55:31.866 TATE: At the time, Motown was still one of 1027 00:55:31.949 --> 00:55:34.245 the most popular sounds in America. 1028 00:55:34.412 --> 00:55:37.711 Berry Gordy and his team of Black showbiz professionals 1029 00:55:37.919 --> 00:55:41.092 created a whole assembly line to make 'hood R and B palatable 1030 00:55:41.259 --> 00:55:43.013 to the Wonder Bread mainstream white America. 1031 00:55:43.514 --> 00:55:46.060 EWART ABNER: To put on wax Black people 1032 00:55:46.269 --> 00:55:50.485 so that we can widen the distribution of the Black ideas. 1033 00:55:50.778 --> 00:55:51.947 (SINGING) I've got sunshine on a cloudy day 1034 00:55:52.114 --> 00:55:54.745 HUNTER‐GAULT: Those artists, they were role models... 1035 00:55:54.912 --> 00:55:56.122 these were our people 1036 00:55:56.289 --> 00:55:59.378 creating things that made us feel good about ourselves. 1037 00:55:59.546 --> 00:56:03.679 And to see them break through, we were so proud. 1038 00:56:03.846 --> 00:56:05.015 My girl 1039 00:56:05.182 --> 00:56:06.936 (VOCALIZING) 1040 00:56:23.928 --> 00:56:27.852 I love to talk about my girl, yeah 1041 00:56:30.817 --> 00:56:33.238 (CROWD CHEERING) 1042 00:56:36.537 --> 00:56:39.083 LAWRENCE: Now, ladies and gentlemen, 1043 00:56:39.166 --> 00:56:41.755 we're gonna bring up some folks... 1044 00:56:41.922 --> 00:56:43.091 GLADYS KNIGHT: I was nervous. 1045 00:56:43.258 --> 00:56:45.345 We were so excited about being there, 1046 00:56:45.513 --> 00:56:46.849 we'd join our hands 1047 00:56:46.932 --> 00:56:49.270 and say prayers before we went on stage. 1048 00:56:49.437 --> 00:56:51.024 Gladys Knight. 1049 00:56:51.107 --> 00:56:52.192 (CROWD CHEERING) 1050 00:56:52.401 --> 00:56:53.988 KNIGHT: Now, when I stepped on stage, 1051 00:56:54.071 --> 00:56:56.618 I was totally, totally taken aback 1052 00:56:56.869 --> 00:56:59.666 because I didn't expect a crowd like that. 1053 00:56:59.833 --> 00:57:01.252 LAWRENCE: And the Pips! 1054 00:57:01.335 --> 00:57:02.630 (CROWD CHEERING) 1055 00:57:04.091 --> 00:57:06.179 (SINGING) Oh, I bet you're wonderin' how I knew 1056 00:57:07.014 --> 00:57:08.266 Baby, baby, baby 1057 00:57:08.349 --> 00:57:11.857 'Bout your plan to make me blue 1058 00:57:12.024 --> 00:57:15.363 With some other girl you knew before 1059 00:57:15.948 --> 00:57:19.455 Between the two of us girls Ya know I love you more 1060 00:57:19.623 --> 00:57:23.798 It took me by surprise, I must say 1061 00:57:23.964 --> 00:57:25.968 When I found out yesterday 1062 00:57:26.135 --> 00:57:28.348 Don't ya know that I heard it through the grapevine 1063 00:57:28.516 --> 00:57:30.268 Whoa, I heard it through the grapevine 1064 00:57:30.435 --> 00:57:31.980 Not much longer would you be mine 1065 00:57:32.064 --> 00:57:33.567 THE PIPS: Not much longer would you be mine 1066 00:57:33.651 --> 00:57:34.694 Oh, don't ya know that I heard it 1067 00:57:34.778 --> 00:57:35.780 Through the grapevine 1068 00:57:35.905 --> 00:57:37.826 Whoa, I heard it through the grapevine 1069 00:57:38.034 --> 00:57:39.830 And I'm just about, just about 1070 00:57:39.913 --> 00:57:41.415 Just about to lose my mind 1071 00:57:41.542 --> 00:57:42.544 Whoa, yes I am 1072 00:57:42.710 --> 00:57:46.134 Whoa, yes I am Whoa, yes I am 1073 00:57:46.300 --> 00:57:48.179 Baby what you doin' to me 1074 00:57:48.681 --> 00:57:50.685 Oh, take a good look 1075 00:57:50.768 --> 00:57:52.564 At these tears in my eyes 1076 00:57:52.689 --> 00:57:57.156 Baby, baby, these tears I can't hold on inside 1077 00:57:57.322 --> 00:58:01.164 Losin' you would end my life, you see 1078 00:58:01.330 --> 00:58:04.838 Because you mean that much to me 1079 00:58:05.005 --> 00:58:08.721 You could've told me yourself 1080 00:58:08.888 --> 00:58:11.727 That you were lovin' somebody else 1081 00:58:11.894 --> 00:58:13.271 Instead I heard it through the grapevine 1082 00:58:13.438 --> 00:58:14.774 Whoa, I heard it through the grapevine 1083 00:58:14.941 --> 00:58:17.237 Oh, not much longer would you be mine 1084 00:58:17.404 --> 00:58:20.745 DORINDA: Gladys Knight was everything to us. 1085 00:58:20.912 --> 00:58:23.208 She was the queen of soul. 1086 00:58:23.374 --> 00:58:25.086 She gave it to us good, and the Pips were workin'. 1087 00:58:25.295 --> 00:58:27.466 About to lose my mind Whoa, yes, I am 1088 00:58:27.634 --> 00:58:31.140 Whoa, yes, I am Whoa, yes, I am 1089 00:58:32.936 --> 00:58:34.731 (VOCALIZING) 1090 00:58:36.902 --> 00:58:38.488 I know you hear me, boy 1091 00:58:38.739 --> 00:58:41.160 KNIGHT: At that time, we were up and coming, 1092 00:58:41.244 --> 00:58:42.789 believe it or not. (LAUGHS) 1093 00:58:44.250 --> 00:58:46.420 I was very young. 1094 00:58:46.588 --> 00:58:48.676 Motown was like our family. 1095 00:58:48.842 --> 00:58:51.389 In the beginning, we all lived in the same neighborhood. 1096 00:58:51.556 --> 00:58:53.519 Holland‐Dozier lived on the corner, 1097 00:58:53.602 --> 00:58:54.771 we lived right here, 1098 00:58:54.938 --> 00:58:57.150 Martha and the Vandellas lived right there, 1099 00:58:57.317 --> 00:58:59.405 the Temptations lived right behind us. 1100 00:58:59.572 --> 00:59:01.409 We were all together. 1101 00:59:01.994 --> 00:59:04.958 Cholly Atkins was our number‐one guy. 1102 00:59:05.041 --> 00:59:07.964 He was the one that taught us the routines. 1103 00:59:08.131 --> 00:59:09.466 We worked, we worked... 1104 00:59:09.592 --> 00:59:13.182 we'd go in his basement at 7:00 a. m. in the morning. 1105 00:59:13.349 --> 00:59:16.272 He kept us there until five or six o'clock in the evening 1106 00:59:16.439 --> 00:59:18.736 and if you weren't doing his stuff right... 1107 00:59:21.783 --> 00:59:23.077 (LAUGHS) 1108 00:59:23.161 --> 00:59:27.336 He was a father to us as well as a choreographer. 1109 00:59:28.171 --> 00:59:31.302 America had started to listen to this music 1110 00:59:31.469 --> 00:59:34.308 and it took us to a totally different level 1111 00:59:34.475 --> 00:59:36.855 and from there, we went around the world. 1112 00:59:37.064 --> 00:59:38.650 (SINGING) Now bring it on down 1113 00:59:40.696 --> 00:59:44.161 Yes, I heard Oh, yes, I did 1114 00:59:44.328 --> 00:59:47.334 Yes, I heard, oh 1115 00:59:47.501 --> 00:59:48.962 You know, it's strange 1116 00:59:49.129 --> 00:59:51.425 But the same thing happened to my three guys 1117 00:59:51.510 --> 00:59:52.553 ‐Hey, fellas ‐Hey! 1118 00:59:52.637 --> 00:59:53.680 Come on and tell 'em 1119 00:59:53.764 --> 00:59:55.141 Just how you found out about it 1120 00:59:56.477 --> 01:00:00.193 Oh, I heard through the grapevine 1121 01:00:00.360 --> 01:00:03.700 Oh, I heard through the grapevine 1122 01:00:03.867 --> 01:00:05.538 And I heard, heard, heard, heard, heard it 1123 01:00:05.621 --> 01:00:06.915 Through the grapevine 1124 01:00:07.082 --> 01:00:08.585 And I heard, heard, heard, heard, heard it 1125 01:00:08.669 --> 01:00:10.380 Through the grapevine 1126 01:00:13.136 --> 01:00:16.475 Yes, I heard Oh, yes, I did 1127 01:00:16.643 --> 01:00:17.728 Yes, I heard 1128 01:00:17.895 --> 01:00:19.649 KNIGHT: Motown was very interested 1129 01:00:19.732 --> 01:00:21.736 in us keeping our integrity. 1130 01:00:21.903 --> 01:00:24.742 Having class, being polite. 1131 01:00:27.122 --> 01:00:28.709 YOUNG KNIGHT: (SINGING) Hey, hey, hey 1132 01:00:28.792 --> 01:00:30.503 I heard it through the grapevine 1133 01:00:30.671 --> 01:00:33.886 But I knew something very, very important 1134 01:00:33.969 --> 01:00:35.598 was happening in Harlem that day. 1135 01:00:35.764 --> 01:00:37.017 (SINGING) I heard it 1136 01:00:40.273 --> 01:00:42.612 It wasn't just about the music. 1137 01:00:48.957 --> 01:00:50.794 We wanted progress. 1138 01:00:53.759 --> 01:00:55.220 We are Black people, 1139 01:00:55.303 --> 01:00:57.892 and we should be proud of this. 1140 01:00:58.059 --> 01:00:59.812 And we want our people, 1141 01:00:59.896 --> 01:01:02.025 we want our people lifting us up. 1142 01:01:02.192 --> 01:01:03.862 LAWRENCE: Gladys Knight and the Pips. 1143 01:01:03.946 --> 01:01:05.824 (CROWD CHEERING) 1144 01:01:08.204 --> 01:01:11.043 We believed in what we felt in here. 1145 01:01:13.130 --> 01:01:17.097 So, when we went out, "Let's go! Let's go do it!" 1146 01:01:18.182 --> 01:01:20.270 (CROWD CONTINUES CHEERING) 1147 01:01:29.037 --> 01:01:30.958 TATE: At the Harlem Cultural Festival, 1148 01:01:31.125 --> 01:01:34.674 you got a audience that's showing up who's radicalized. 1149 01:01:35.133 --> 01:01:38.849 There's just this embrace of neo‐super Blackness. 1150 01:01:39.016 --> 01:01:40.644 That generation had evolved 1151 01:01:40.811 --> 01:01:44.527 and Black music was moving into this rapidly changing era 1152 01:01:44.694 --> 01:01:46.573 of psychedelicized R and B. 1153 01:01:47.032 --> 01:01:49.494 Ladies and gentlemen, 1154 01:01:49.662 --> 01:01:53.377 the internationally known, 1155 01:01:53.545 --> 01:01:56.133 the dynamic... 1156 01:01:56.300 --> 01:01:59.724 Sly and the Family Stone. 1157 01:01:59.807 --> 01:02:01.352 (CROWD CHEERING) 1158 01:02:01.435 --> 01:02:02.772 LEWIS: When you saw a Black group, 1159 01:02:02.938 --> 01:02:07.030 what you expected to see was, generally speaking, all men, 1160 01:02:07.197 --> 01:02:09.994 all dressed in matching suits, 1161 01:02:10.161 --> 01:02:14.294 ready even before they hit the stage to perform. 1162 01:02:14.461 --> 01:02:15.839 He introduced Sly 1163 01:02:16.006 --> 01:02:18.595 and the first thing that happens to the audience 1164 01:02:18.762 --> 01:02:21.058 is the feeling of apprehension 1165 01:02:21.183 --> 01:02:24.022 because just because they introduced Sly 1166 01:02:24.231 --> 01:02:27.404 doesn't mean he's there. (LAUGHS) 1167 01:02:27.487 --> 01:02:31.495 It also doesn't mean he's coming out immediately. 1168 01:02:31.663 --> 01:02:33.082 Ladies and gentlemen, 1169 01:02:33.249 --> 01:02:35.546 we're gonna have to stop the show if you keep on pushing. 1170 01:02:35.713 --> 01:02:37.382 We're gonna have to stop the show right here. 1171 01:02:37.717 --> 01:02:39.261 (CROWD CHEERING) 1172 01:02:39.344 --> 01:02:42.058 LEWIS: So, the group would kind of saunter out. 1173 01:02:43.352 --> 01:02:45.733 GREG ERRICO: I remember it being a beautiful, sunny day. 1174 01:02:45.899 --> 01:02:48.154 We hit the stage late 1175 01:02:48.320 --> 01:02:50.784 and I remember, "Jeez, there's a big crowd here" 1176 01:02:50.951 --> 01:02:52.412 and this was Harlem. 1177 01:02:53.122 --> 01:02:54.667 (CROWD CHEERING) 1178 01:02:54.917 --> 01:02:56.921 LEWIS: The instruments weren't tuned. 1179 01:02:57.088 --> 01:02:59.635 You're wondering, "What are they doing with girls in the group? 1180 01:02:59.802 --> 01:03:01.931 "What is white people doing up there?" 1181 01:03:02.641 --> 01:03:04.896 We started tuning up, you know, bam! 1182 01:03:05.062 --> 01:03:06.983 Hit the snare, kicks, that's good. 1183 01:03:07.192 --> 01:03:09.864 Almost like a loose tuning jam. 1184 01:03:10.031 --> 01:03:11.993 LEWIS: And a white guy is the drummer? 1185 01:03:12.160 --> 01:03:13.830 We couldn't get this thing, 1186 01:03:13.914 --> 01:03:15.416 that the white guy is the drummer. 1187 01:03:15.584 --> 01:03:18.799 You know, he's not supposed to be able to do that. 1188 01:03:18.965 --> 01:03:21.386 ERRICO: They came to check us out. 1189 01:03:21.554 --> 01:03:23.600 You know, "What you got?" 1190 01:03:23.767 --> 01:03:26.689 And probably Jerry and I were the only two white people there. 1191 01:03:28.025 --> 01:03:31.198 As soon as everything was kicking, it was on. 1192 01:03:31.365 --> 01:03:33.369 SLY: (SINGING) Yeah, yeah, yeah, yeah 1193 01:03:33.452 --> 01:03:35.206 Yeah, yeah, yeah, yeah 1194 01:03:35.289 --> 01:03:37.586 I'm talkin', talkin', talkin', talkin' 1195 01:03:37.753 --> 01:03:39.339 Walkin', walkin', walkin', walkin' 1196 01:03:39.507 --> 01:03:44.057 I'm livin', livin', livin', livin', hey 1197 01:03:44.224 --> 01:03:48.567 Time is passin', I grow older Things are happenin' fast 1198 01:03:48.733 --> 01:03:52.282 All I have to hold on to Is a simple song at last 1199 01:03:52.448 --> 01:03:53.450 Let me hear you say 1200 01:03:53.660 --> 01:03:59.462 Ya, ya, ya, ya, ya 1201 01:04:01.968 --> 01:04:07.938 Ya, ya, ya, ya, ya 1202 01:04:12.948 --> 01:04:18.083 Sing a simple song 1203 01:04:18.250 --> 01:04:23.553 Try a little do re mi fa so la ti do 1204 01:04:42.883 --> 01:04:45.179 TATE: Sly and the Family Stone was such a game changer 1205 01:04:45.262 --> 01:04:47.308 on so many levels. 1206 01:04:48.812 --> 01:04:51.943 They are kind of our first two‐tone soul group. 1207 01:04:53.070 --> 01:04:55.784 They were bringing gender parity into the presentation. 1208 01:04:55.951 --> 01:04:57.871 (SINGING) Everybody sing together 1209 01:04:58.038 --> 01:05:02.005 BLAND‐ACOSTA: To see a Black woman playin' a trumpet made me feel great. 1210 01:05:02.171 --> 01:05:07.223 (SINGING) Ya, ya, ya, ya Sing it in the shower, ya 1211 01:05:07.390 --> 01:05:09.019 TATE: Sly came up in the church, 1212 01:05:09.102 --> 01:05:10.689 so he's got all that vernacular. 1213 01:05:10.939 --> 01:05:12.358 He used to be a DJ 1214 01:05:12.442 --> 01:05:14.864 in the middle of the Haight‐Ashbury revolution, 1215 01:05:15.031 --> 01:05:16.659 so he's coming from the epicenter 1216 01:05:16.743 --> 01:05:17.911 of transformative cool, 1217 01:05:18.078 --> 01:05:20.959 transformative hip, politically savvy America. 1218 01:05:21.126 --> 01:05:23.882 He's a conservatory student and a multi‐instrumentalist, 1219 01:05:24.049 --> 01:05:26.554 so there's the proto‐Prince factor going on. 1220 01:05:28.767 --> 01:05:31.438 Sly wanted to address everybody and everything. 1221 01:05:32.440 --> 01:05:34.194 Music was the common denominator. 1222 01:05:34.612 --> 01:05:37.785 And music made you want to challenge social aspects 1223 01:05:37.868 --> 01:05:39.162 that needed to be challenged. 1224 01:05:39.329 --> 01:05:41.542 Everybody do their thing, and that's what we did. 1225 01:05:41.709 --> 01:05:43.755 (SINGING) You're in trouble when you find 1226 01:05:43.838 --> 01:05:45.675 It's hard for you to smile 1227 01:05:45.842 --> 01:05:48.180 A simple song might make it better 1228 01:05:48.263 --> 01:05:50.769 For a little while, hey 1229 01:05:58.033 --> 01:05:59.578 (CROWD CHEERING) 1230 01:05:59.870 --> 01:06:03.001 TATE: This is clearly a band with an evangelical sense 1231 01:06:03.085 --> 01:06:05.464 of their church of psychedelic soul. 1232 01:06:05.632 --> 01:06:07.426 It's the ministry of fun. 1233 01:06:11.644 --> 01:06:12.896 BLAND‐ACOSTA: My friend Ethel Beatty, 1234 01:06:13.021 --> 01:06:14.942 we loved Sly and the Family Stone. 1235 01:06:15.151 --> 01:06:16.153 We loved them. 1236 01:06:16.571 --> 01:06:19.618 BEATTY‐BARNES: We said, "Listen, we can't let this pass up." 1237 01:06:20.537 --> 01:06:22.206 But I could not say 1238 01:06:22.290 --> 01:06:24.920 that we were going to see a concert to my mother. 1239 01:06:25.087 --> 01:06:26.507 We had to connive. 1240 01:06:26.674 --> 01:06:29.012 Maybe I told a fib. 1241 01:06:29.179 --> 01:06:31.057 I said I was going to visit my aunt. 1242 01:06:31.224 --> 01:06:32.603 We said we were going shopping. 1243 01:06:32.811 --> 01:06:37.988 (SINGING) I am everyday people 1244 01:06:38.155 --> 01:06:40.326 BEATTY‐BARNES: We walked to the park. 1245 01:06:40.492 --> 01:06:44.877 (SINGING) I am everyday people 1246 01:06:45.252 --> 01:06:47.256 BEATTY‐BARNES: And we ended up on the front row. 1247 01:06:48.885 --> 01:06:51.515 BLAND‐ACOSTA: The energy was indescribable. 1248 01:06:51.599 --> 01:06:53.686 More than excitement. 1249 01:06:55.064 --> 01:06:58.821 (SINGING) Sometimes I'm right and I can be wrong 1250 01:06:59.531 --> 01:07:02.579 My own beliefs are in my song 1251 01:07:02.746 --> 01:07:06.294 The butcher, the banker, the drummer and then 1252 01:07:06.461 --> 01:07:09.927 Makes no difference what group I'm in 1253 01:07:10.094 --> 01:07:16.607 I am everyday people Yeah, yeah 1254 01:07:17.526 --> 01:07:20.281 There is a blue one who can't accept 1255 01:07:20.364 --> 01:07:21.826 The green one for living with 1256 01:07:21.993 --> 01:07:24.707 A fat one tryin' to be a skinny one 1257 01:07:24.873 --> 01:07:28.046 Different strokes for different folks 1258 01:07:28.213 --> 01:07:32.263 And so on and so on and scooby dooby dooby 1259 01:07:35.729 --> 01:07:39.152 We got to live together 1260 01:07:39.319 --> 01:07:42.993 I am no better and neither are you 1261 01:07:43.160 --> 01:07:46.333 We all the same, whatever we do 1262 01:07:46.499 --> 01:07:50.215 You love me, you hate me You know me and then 1263 01:07:50.382 --> 01:07:53.681 You can't figure out the bag I'm in 1264 01:07:53.848 --> 01:07:58.106 I am everyday people 1265 01:07:58.273 --> 01:08:00.862 Yeah, yeah, yeah 1266 01:08:01.029 --> 01:08:02.616 There is a longhair 1267 01:08:02.699 --> 01:08:04.285 That doesn't like the shorthair 1268 01:08:04.452 --> 01:08:06.289 For being such a rich one 1269 01:08:06.373 --> 01:08:08.168 That will not help the poor one 1270 01:08:08.335 --> 01:08:11.592 Different strokes for different folks 1271 01:08:11.759 --> 01:08:15.600 And so on and so on and scooby dooby dooby 1272 01:08:19.107 --> 01:08:22.572 We got to live together 1273 01:08:22.739 --> 01:08:24.785 There is a yellow one that can't 1274 01:08:24.868 --> 01:08:26.371 Accept the black one 1275 01:08:26.539 --> 01:08:27.958 That won't accept the red one 1276 01:08:28.041 --> 01:08:29.795 That won't accept the white one 1277 01:08:30.003 --> 01:08:33.553 Different strokes for different folks 1278 01:08:33.719 --> 01:08:37.143 And so on and so on and scooby dooby doo 1279 01:08:40.817 --> 01:08:43.990 I am everyday people 1280 01:08:44.157 --> 01:08:46.620 LEWIS: As I said, my group of four guys, 1281 01:08:46.704 --> 01:08:48.206 we were suit‐and‐tie guys. 1282 01:08:49.543 --> 01:08:54.720 Then we saw Sly, and we were no longer suit‐and‐tie guys. 1283 01:08:55.345 --> 01:08:59.563 I am everyday people 1284 01:08:59.730 --> 01:09:01.525 LEWIS: The change was in effect. 1285 01:09:01.609 --> 01:09:03.696 (CROWD CHEERING) 1286 01:09:19.603 --> 01:09:22.066 (SINGING) Watermelon man 1287 01:09:27.744 --> 01:09:29.873 Watermelon man 1288 01:09:44.402 --> 01:09:45.989 LEWIS: When you looked at the audience, 1289 01:09:46.197 --> 01:09:48.451 you could see the change in the scene 1290 01:09:48.536 --> 01:09:50.289 as it was happening. 1291 01:09:50.455 --> 01:09:51.584 There would still be people 1292 01:09:51.667 --> 01:09:54.130 in silk and wool and sharkskin, 1293 01:09:54.338 --> 01:09:56.802 but you would see the bell‐bottoms, 1294 01:09:56.885 --> 01:09:58.263 the cut‐off shirts. 1295 01:10:00.017 --> 01:10:02.438 BEATTY‐BARNES: You saw platform shoes, hip‐huggers, 1296 01:10:02.522 --> 01:10:05.820 men wearing no shirt and leather vests. 1297 01:10:06.029 --> 01:10:08.576 It was hip, you know. It was real hip. 1298 01:10:10.162 --> 01:10:12.834 McFARLAND: At that time, Harlem was a melting pot 1299 01:10:12.918 --> 01:10:14.337 of Black style. 1300 01:10:17.343 --> 01:10:19.180 When we got into the late '60s, 1301 01:10:19.263 --> 01:10:20.558 there was a new movement. 1302 01:10:20.642 --> 01:10:22.269 Afrocentric. 1303 01:10:22.436 --> 01:10:24.398 It's a revolution, style revolution, 1304 01:10:24.524 --> 01:10:25.818 cultural revolution. 1305 01:10:25.985 --> 01:10:28.824 We found that the African styles just suit us better. 1306 01:10:28.991 --> 01:10:31.412 MUSA: I could remember dashikis. 1307 01:10:31.580 --> 01:10:34.126 Everybody had a dashiki. I think I had a dashiki. 1308 01:10:34.293 --> 01:10:36.464 MAN: Now, the dashiki is an adaptation 1309 01:10:36.548 --> 01:10:37.968 of an African piece. 1310 01:10:38.134 --> 01:10:40.890 What we mean when we say dashiki, is freedom. 1311 01:10:41.057 --> 01:10:43.980 So it's a freedom suit. I can move in any direction. 1312 01:10:44.146 --> 01:10:45.273 I never am attacked. 1313 01:10:45.440 --> 01:10:47.737 LEWIS: The hair was the biggest change. 1314 01:10:47.946 --> 01:10:49.073 McFARLAND: Afros. 1315 01:10:49.240 --> 01:10:51.996 My generation say it looks nice. 1316 01:10:52.162 --> 01:10:55.419 The older generation thinks it's ridiculous. 1317 01:10:55.586 --> 01:10:57.464 MAVIS: The three of us, me, Yvonne and Cleety, 1318 01:10:57.716 --> 01:10:59.260 we all had our natural 'dos, 1319 01:10:59.343 --> 01:11:01.305 we couldn't wait to get our hair nappy. 1320 01:11:01.472 --> 01:11:03.476 Black people who, unfortunately, 1321 01:11:03.561 --> 01:11:04.855 was born in this country 1322 01:11:05.022 --> 01:11:07.986 are trying to establish our identity. 1323 01:11:08.153 --> 01:11:11.284 This is just about all we have left to identify ourselves as. 1324 01:11:14.248 --> 01:11:15.500 McFARLAND: That festival brought in 1325 01:11:15.585 --> 01:11:16.670 the different cultures. 1326 01:11:16.837 --> 01:11:21.137 Caribbean, Afrocentric, all the Latin and Cuban. 1327 01:11:24.226 --> 01:11:26.481 LIN‐MANUEL MIRANDA: Mongo Santamaria at this festival, 1328 01:11:26.565 --> 01:11:28.485 at this time in Harlem in the '60s 1329 01:11:28.694 --> 01:11:31.199 is the nexus of the Black and brown communities 1330 01:11:31.282 --> 01:11:32.535 that make up Uptown New York. 1331 01:11:32.702 --> 01:11:34.706 (SINGING) Watermelon man 1332 01:11:34.873 --> 01:11:37.629 LIN‐MANUEL: His first hit, Herbie Hancock's Watermelon Man, 1333 01:11:37.796 --> 01:11:41.512 is where Cuban music meets jazz. 1334 01:11:41.678 --> 01:11:46.062 The festival, it's a political statement 1335 01:11:46.145 --> 01:11:48.274 of Black and brown communities. 1336 01:11:53.201 --> 01:11:55.540 (CROWD CHEERING) 1337 01:11:55.832 --> 01:11:57.292 LAWRENCE: Ladies and gentlemen, 1338 01:11:57.376 --> 01:12:00.048 we bring you Harlem's very own, 1339 01:12:00.215 --> 01:12:01.844 the young man who put the soul 1340 01:12:01.927 --> 01:12:05.475 into the Latin music, Ray Barretto. 1341 01:12:05.560 --> 01:12:07.187 (CROWD CHEERING) 1342 01:12:26.100 --> 01:12:28.856 (SINGING IN SPANISH) 1343 01:12:35.410 --> 01:12:36.997 LUIS: A New Yorican, 1344 01:12:37.080 --> 01:12:40.546 it's a New Yorker with Puerto Rican roots. 1345 01:12:40.713 --> 01:12:43.928 Ray Barretto, in particular, was a New Yorican. 1346 01:12:44.094 --> 01:12:46.140 He's a Puerto Rican New Yorker, 1347 01:12:46.224 --> 01:12:49.648 born here, raised here in Harlem. 1348 01:12:49.814 --> 01:12:50.983 He's the original New Yorican. (CHUCKLES) 1349 01:12:51.150 --> 01:12:56.662 But has an unbelievable impact on Puerto Rican music. 1350 01:13:00.544 --> 01:13:03.007 DENISE OLIVER‐VELEZ: East Harlem, or Spanish Harlem, 1351 01:13:03.091 --> 01:13:05.095 was not just Puerto Ricans. 1352 01:13:05.262 --> 01:13:08.476 You had Jamaicans, you had African‐American, 1353 01:13:08.644 --> 01:13:11.357 Cuban, Black Panamanian, 1354 01:13:11.608 --> 01:13:13.612 and they brought with them 1355 01:13:13.696 --> 01:13:16.535 Afro‐Cuban, Afro‐Puerto Rican music. 1356 01:13:20.250 --> 01:13:21.753 (MAN WHISTLING) 1357 01:13:23.423 --> 01:13:27.222 In '69, I lived in El Barrio, East Harlem. 1358 01:13:27.557 --> 01:13:31.063 There was music coming off of every fire escape, 1359 01:13:31.147 --> 01:13:32.441 out of every social club. 1360 01:13:32.608 --> 01:13:34.654 You hear the sound of drumming. 1361 01:13:34.821 --> 01:13:36.616 They have roosters crowing, 1362 01:13:36.783 --> 01:13:39.204 guys that would sit out playing dominoes. 1363 01:13:39.371 --> 01:13:40.875 We all hung out together, 1364 01:13:40.958 --> 01:13:42.587 we danced together, we partied together. 1365 01:13:42.754 --> 01:13:46.595 We were speaking a universal language, the drum. 1366 01:13:46.678 --> 01:13:48.807 (DRUM CONTINUES BEATING) 1367 01:13:50.477 --> 01:13:52.940 SHEILA E.: It goes back to making the drum 1368 01:13:53.024 --> 01:13:54.360 speak to people. 1369 01:13:57.784 --> 01:14:00.664 The different rhythms that each person has in the band, 1370 01:14:01.290 --> 01:14:04.254 some of it's up, some of it's down, 1371 01:14:04.338 --> 01:14:05.382 but it goes like this. 1372 01:14:06.384 --> 01:14:07.845 It comes together 1373 01:14:07.929 --> 01:14:11.603 and it forms a bond and a conversation. 1374 01:14:11.770 --> 01:14:14.441 And that conversation reads out to the audience 1375 01:14:14.609 --> 01:14:15.820 and now they're listening 1376 01:14:15.903 --> 01:14:17.657 'cause they understand what you're saying. 1377 01:14:38.072 --> 01:14:41.788 I got to perform with Ray early on in my teens 1378 01:14:41.955 --> 01:14:44.418 and I learned a lot by watching him. 1379 01:14:47.299 --> 01:14:50.180 Ray's playing, it's all in the wrist, and that's what I learned. 1380 01:14:50.346 --> 01:14:53.019 That's how I play. More with the wrist. 1381 01:14:54.814 --> 01:14:56.818 Mongo's different from Ray Barretto. 1382 01:14:56.985 --> 01:14:58.488 He's not just using the tips. 1383 01:14:58.655 --> 01:15:02.580 He's using his entire hand to play and all of his arm. 1384 01:15:03.707 --> 01:15:05.126 And the power. 1385 01:15:05.836 --> 01:15:07.172 If you ever shook his hand, 1386 01:15:07.339 --> 01:15:09.677 all of his fingers would almost be the same size. 1387 01:15:09.844 --> 01:15:14.228 They were swollen like a club from playing. 1388 01:15:18.946 --> 01:15:22.118 ‐(WHOOPS) ‐Those artists crossed genres. 1389 01:15:22.202 --> 01:15:24.414 They're trying to reunite people with music. 1390 01:15:24.624 --> 01:15:26.628 Bringing people together, that's what it's about. 1391 01:15:26.795 --> 01:15:28.757 BARRETTO: (SINGING) Now, I know a beautiful truth. 1392 01:15:29.592 --> 01:15:32.430 I know that in my blood, 1393 01:15:32.598 --> 01:15:36.188 I got Black and white, 1394 01:15:36.355 --> 01:15:40.029 red, Puerto Rican, Indian. 1395 01:15:40.196 --> 01:15:44.914 I'm all messed up, but I got soul, I know it. 1396 01:15:45.916 --> 01:15:50.258 And so, in every face, in every face I see... 1397 01:15:50.425 --> 01:15:55.310 I see a part of you and you and you and me... 1398 01:15:55.476 --> 01:15:57.105 (SINGING) Together 1399 01:15:57.314 --> 01:16:01.698 The power of music is to tell our own stories. 1400 01:16:02.073 --> 01:16:04.202 We hold a mirror to ourselves. 1401 01:16:04.369 --> 01:16:07.752 We write the music that comes from inside us. 1402 01:16:07.918 --> 01:16:09.379 And other people say, "That's me, too." 1403 01:16:10.549 --> 01:16:13.012 BARRETTO: (SINGING) I said, everybody get together 1404 01:16:13.220 --> 01:16:15.475 Got to do it all if we gonna live 1405 01:16:15.643 --> 01:16:18.314 not on the moon, right here on Earth, baby. 1406 01:16:18.481 --> 01:16:23.784 We got to do it all together before it's too goddamn late. 1407 01:16:29.127 --> 01:16:31.423 (CROWD CHEERING) 1408 01:16:31.508 --> 01:16:33.260 (LIVELY MUSIC PLAYING) 1409 01:16:37.895 --> 01:16:38.897 EDWIN E. ALDRIN: (ON RADIO) Go for landing. 1410 01:16:39.064 --> 01:16:40.441 ENGINEER: We're a go. Same type. We're a go. 1411 01:16:40.609 --> 01:16:42.445 POPS: Come on now, let's go to sing out. 1412 01:16:42.613 --> 01:16:43.615 ALDRIN: Okay, 75 feet. 1413 01:16:43.782 --> 01:16:44.784 POPS: Yeah! 1414 01:16:44.951 --> 01:16:46.663 ALDRIN: There's looking good. 1415 01:16:46.830 --> 01:16:49.418 ENGINEER: 60 seconds. ALDRIN: Lights on. 1416 01:16:49.585 --> 01:16:50.587 THE STAPLE SINGERS: (SINGING) Some are pushin' hard 1417 01:16:50.754 --> 01:16:52.048 ALDRIN: Drifting to the right a little. 1418 01:16:52.215 --> 01:16:53.593 THE STAPLE SINGERS: Some are holdin' back 1419 01:16:53.760 --> 01:16:54.971 ALDRIN: Kickin' up some dust. 1420 01:16:55.138 --> 01:16:56.348 THE STAPLE SINGERS: You know it's a shame 1421 01:16:56.516 --> 01:16:57.518 ENGINEER: 30 seconds. 1422 01:16:57.685 --> 01:16:58.854 THE STAPLE SINGERS: The way some people act 1423 01:16:59.020 --> 01:17:00.273 ALDRIN: Three feet and two and a half down. 1424 01:17:00.440 --> 01:17:01.901 THE STAPLE SINGERS: The president said 1425 01:17:01.985 --> 01:17:03.028 ALDRIN: Okay, engine stop. 1426 01:17:03.195 --> 01:17:04.197 THE STAPLE SINGERS: That we would overcome 1427 01:17:04.364 --> 01:17:05.951 NEIL ARMSTRONG: (ON RADIO) Tranquility Base here. 1428 01:17:06.160 --> 01:17:07.454 (SINGING) We gotta keep pushin' a whole lot 1429 01:17:07.621 --> 01:17:08.623 ARMSTRONG: The Eagle has landed. 1430 01:17:08.832 --> 01:17:09.834 (SINGING) Till the work is done 1431 01:17:10.001 --> 01:17:13.090 Man on the moon. Oh, boy, boy. 1432 01:17:13.257 --> 01:17:15.094 THE STAPLE SINGERS: It's been a change 1433 01:17:15.929 --> 01:17:17.516 It's been a change 1434 01:17:17.641 --> 01:17:18.769 This whole world 1435 01:17:18.852 --> 01:17:19.979 ‐Has been a change ‐POPS: Danger! 1436 01:17:20.104 --> 01:17:23.402 LEWIS: Sunday, July 20th, 1969, 1437 01:17:23.570 --> 01:17:26.785 during the Harlem Cultural Festival, 1438 01:17:26.993 --> 01:17:29.540 man landed on the moon. 1439 01:17:29.707 --> 01:17:31.293 Hooray. 1440 01:17:31.460 --> 01:17:32.504 (SINGING) Things have been 1441 01:17:32.671 --> 01:17:33.757 It's a great thing for this country. 1442 01:17:33.924 --> 01:17:34.967 Won't be no more 1443 01:17:35.134 --> 01:17:36.513 I can't believe that that just happened. 1444 01:17:36.679 --> 01:17:37.681 It may be late 1445 01:17:37.848 --> 01:17:38.892 It was terrific. 1446 01:17:39.226 --> 01:17:40.394 Or it may be soon 1447 01:17:40.562 --> 01:17:42.190 It's a great technological achievement. 1448 01:17:42.315 --> 01:17:43.317 THE STAPLE SINGERS: One of these days 1449 01:17:43.442 --> 01:17:44.486 It's really unbelievable. 1450 01:17:44.695 --> 01:17:46.114 THE STAPLE SINGERS: There'll be a man on the moon 1451 01:17:46.281 --> 01:17:47.283 I'm very emotional. 1452 01:17:47.785 --> 01:17:49.705 I just hope they make it back. 1453 01:17:50.164 --> 01:17:51.458 I felt the world got closer today. 1454 01:17:51.626 --> 01:17:53.964 I felt we all got to know each other that much more. 1455 01:17:54.172 --> 01:17:56.970 This whole world has made a change 1456 01:17:57.136 --> 01:17:58.515 CRONKITE: Well, there was a large crowd 1457 01:17:58.598 --> 01:18:00.561 gathered in Harlem this afternoon. 1458 01:18:00.727 --> 01:18:03.525 For some of the reaction there, correspondent Bill Plante. 1459 01:18:03.692 --> 01:18:06.488 PLANTE: There are 40,000, perhaps 50,000 people 1460 01:18:06.573 --> 01:18:08.702 at Mount Morris Park in Harlem, 1461 01:18:08.869 --> 01:18:11.415 but they are not here watching the moon landing. 1462 01:18:11.583 --> 01:18:13.837 They are here at the soul festival, 1463 01:18:14.004 --> 01:18:17.385 part of the third annual Harlem Cultural Festival. 1464 01:18:17.553 --> 01:18:18.680 And for many of them, 1465 01:18:18.847 --> 01:18:22.897 this is far more relevant than the mission of Apollo 11. 1466 01:18:23.272 --> 01:18:24.984 What's your feeling now that the astronauts 1467 01:18:25.067 --> 01:18:26.738 have landed safely on the moon? 1468 01:18:26.946 --> 01:18:27.948 I think it's very important, 1469 01:18:28.115 --> 01:18:30.119 but I don't think it's any more relevant than, you know, 1470 01:18:30.202 --> 01:18:31.539 the Harlem Cultural Festival here. 1471 01:18:31.706 --> 01:18:32.750 I think it's equal. 1472 01:18:32.833 --> 01:18:33.835 PLANTE: What are your thoughts? 1473 01:18:33.919 --> 01:18:35.087 As far as science goes 1474 01:18:35.254 --> 01:18:36.758 and everybody that's involved 1475 01:18:36.841 --> 01:18:38.637 with the moon landing and astronauts, 1476 01:18:38.762 --> 01:18:42.060 it's beautiful, you know. Like me, I couldn't care less. 1477 01:18:42.226 --> 01:18:43.688 This means more to you than that. 1478 01:18:43.855 --> 01:18:44.857 Yeah, much more. 1479 01:18:45.024 --> 01:18:46.653 The cash they wasted, as far as I'm concerned, 1480 01:18:46.819 --> 01:18:48.823 in getting to the moon could have been used 1481 01:18:48.907 --> 01:18:50.911 to feed poor Black people in Harlem 1482 01:18:51.078 --> 01:18:53.792 and all over the place. All over this country. 1483 01:18:53.959 --> 01:18:55.503 So, like, you know, like, never mind the moon, 1484 01:18:55.671 --> 01:18:57.758 let's get some of that cash in Harlem. 1485 01:18:57.967 --> 01:18:59.344 There's been a change and you might be 1486 01:18:59.427 --> 01:19:01.014 the president of the United States one day. 1487 01:19:01.181 --> 01:19:03.561 Listen, all of you young people, this is your verse. 1488 01:19:05.272 --> 01:19:06.274 (SINGING) You young people 1489 01:19:06.441 --> 01:19:07.861 I think it's a waste of money. 1490 01:19:08.028 --> 01:19:09.155 Stay in school 1491 01:19:09.322 --> 01:19:10.993 People are going hungry all over the United States. 1492 01:19:11.159 --> 01:19:12.203 Study hard 1493 01:19:12.412 --> 01:19:13.581 Let's do something about poverty now. 1494 01:19:13.748 --> 01:19:14.750 And obey the rules 1495 01:19:14.917 --> 01:19:16.003 Straightening out our problems. 1496 01:19:16.169 --> 01:19:17.255 You may be young 1497 01:19:17.422 --> 01:19:18.550 There's so many people... 1498 01:19:18.633 --> 01:19:19.760 And you may be able 1499 01:19:19.844 --> 01:19:20.887 ...who need help. 1500 01:19:20.971 --> 01:19:22.599 Haven't got an education 1501 01:19:22.975 --> 01:19:24.520 What's up there on the moon? Nothing. 1502 01:19:24.603 --> 01:19:25.605 Can't get common labor 1503 01:19:25.731 --> 01:19:27.108 It's groovy for certain people 1504 01:19:27.191 --> 01:19:28.528 but not for the Black man in America. 1505 01:19:28.737 --> 01:19:29.822 It's been a change 1506 01:19:29.989 --> 01:19:32.995 Well, here's the way I look at it. Like that. 1507 01:19:33.663 --> 01:19:36.376 Black man wants to go to Africa, white man's going to the moon. 1508 01:19:36.544 --> 01:19:37.838 I'm gonna stay in Harlem with the Puerto Ricans 1509 01:19:38.005 --> 01:19:39.466 and have me some fun. 1510 01:19:41.178 --> 01:19:43.683 I had a dream last night, and in it, I went to the moon. 1511 01:19:44.727 --> 01:19:45.771 ‐You went to the moon? ‐Yeah. 1512 01:19:45.937 --> 01:19:47.482 Did you go up in the Apollo? 1513 01:19:47.649 --> 01:19:49.444 ‐No, I went up in an Edsel. ‐(CROWD LAUGHING) 1514 01:19:49.612 --> 01:19:51.239 Well, look, tell me more about that. 1515 01:19:51.323 --> 01:19:52.325 What happened? 1516 01:19:52.408 --> 01:19:53.452 ‐Did you plant the flag? ‐No. 1517 01:19:53.536 --> 01:19:55.414 ‐You didn't plant a flag? ‐No, man. 1518 01:19:55.582 --> 01:19:57.711 ‐What did you do? ‐Planted a sign. 1519 01:19:57.878 --> 01:20:00.509 ‐What did the sign say? ‐"For sale. Cheap." 1520 01:20:00.592 --> 01:20:02.303 (CROWD LAUGHING) 1521 01:20:03.055 --> 01:20:06.144 A man done gone to the moon. 1522 01:20:06.228 --> 01:20:07.438 (CROWD CLAMORING) 1523 01:20:10.529 --> 01:20:14.537 I went as far as Baltimore with them, then I got off. 1524 01:20:14.620 --> 01:20:16.541 (CROWD LAUGHING) 1525 01:20:17.835 --> 01:20:21.007 PARRIS: In Harlem, people, they're not focusing on the moon, 1526 01:20:21.216 --> 01:20:23.513 they're dealing with the everyday realities. 1527 01:20:23.847 --> 01:20:26.309 '69 was a tough time for Harlem 1528 01:20:26.393 --> 01:20:27.771 because of the heroin epidemic. 1529 01:20:28.063 --> 01:20:30.192 REPORTER: What do you think is the most pressing issue for Black folk? 1530 01:20:30.359 --> 01:20:31.654 MAN: The number‐one thing 1531 01:20:31.737 --> 01:20:33.575 is the narcotics addiction in this area. 1532 01:20:33.741 --> 01:20:35.704 I would say the drugs, at this point. 1533 01:20:35.871 --> 01:20:36.914 NEWS REPORTER: What do you think is the cause 1534 01:20:36.998 --> 01:20:39.460 for this influx of drug use in the Black communities? 1535 01:20:39.545 --> 01:20:42.676 One of the reasons is because of the great oppression 1536 01:20:42.843 --> 01:20:45.849 which white racists, you know, places on the Black community. 1537 01:20:46.016 --> 01:20:48.395 And this is one way of alleviating the pain. 1538 01:20:49.189 --> 01:20:52.153 I was addicted for 16 years. 1539 01:20:52.361 --> 01:20:53.573 I lost my job, 1540 01:20:53.656 --> 01:20:56.328 I lost my family, my wife kicked me out. 1541 01:20:56.411 --> 01:20:57.413 (SIREN BLARING) 1542 01:20:57.496 --> 01:20:58.541 Bad things were happening to Harlem. 1543 01:20:58.625 --> 01:21:01.213 Businesses were closin', lot of people leavin', 1544 01:21:01.379 --> 01:21:02.883 the buildings became abandoned. 1545 01:21:03.050 --> 01:21:05.304 YOUNG JESSE: We are living in economic colonialism 1546 01:21:05.387 --> 01:21:06.933 based on money, 1547 01:21:07.141 --> 01:21:09.939 where the greedy are exploiting the needy. 1548 01:21:10.105 --> 01:21:12.986 Where we are more concerned about the moon than men. 1549 01:21:13.153 --> 01:21:15.324 ‐Somebody better wake up. ‐(CROWD CHEERING) 1550 01:21:15.491 --> 01:21:17.370 TV HOST 2: This is a country with a gross national product 1551 01:21:17.453 --> 01:21:18.539 of nearly a trillion dollars. 1552 01:21:18.623 --> 01:21:19.667 The money is here. 1553 01:21:19.833 --> 01:21:22.296 Any country that can fight an unpopular war, 1554 01:21:22.463 --> 01:21:24.843 spend more money on weapons than any other single item, 1555 01:21:24.969 --> 01:21:26.764 and send men to the moon, 1556 01:21:26.847 --> 01:21:28.893 baby, that country has really got the bread. 1557 01:21:29.227 --> 01:21:30.855 But what the moon shot proves again 1558 01:21:30.939 --> 01:21:34.112 is that what America hasn't got is soul. 1559 01:21:35.657 --> 01:21:36.951 (CROWD CHEERING) 1560 01:21:37.076 --> 01:21:40.165 (SINGING) Funky, funky, funky, funky 1561 01:21:40.249 --> 01:21:42.044 Let's get funky 1562 01:21:48.725 --> 01:21:50.394 Your precious sweetheart 1563 01:21:50.895 --> 01:21:52.733 She's so faithful 1564 01:21:52.899 --> 01:21:56.699 She's so true, whoa, yeah 1565 01:21:56.866 --> 01:22:00.122 Her dreams are tumblin' Her world is crumblin' 1566 01:22:00.999 --> 01:22:03.211 Because of you 1567 01:22:03.378 --> 01:22:04.798 (VOCALIZING) 1568 01:22:04.965 --> 01:22:08.890 One day you'll hurt her Just once too much 1569 01:22:09.057 --> 01:22:13.106 And when you finally lose your tender touch 1570 01:22:13.273 --> 01:22:18.033 Oh, oh, shoo‐be‐doo‐be‐doo‐be‐ doo‐da‐day 1571 01:22:18.200 --> 01:22:20.789 Her feet may wander Her heart may stray 1572 01:22:20.955 --> 01:22:22.333 Oh, yeah 1573 01:22:22.500 --> 01:22:26.132 Shoo‐be‐doo‐be‐doo‐be‐ doo‐na‐nee 1574 01:22:26.299 --> 01:22:28.846 You're gonna send your baby straight to me 1575 01:22:29.013 --> 01:22:32.938 I'm gonna give her all the lovin' 1576 01:22:33.105 --> 01:22:36.946 Within my heart, oh, yeah 1577 01:22:37.154 --> 01:22:41.079 I'm gonna patch up every single little dream 1578 01:22:41.162 --> 01:22:42.164 You tore apart 1579 01:22:42.331 --> 01:22:44.837 WONDER: I felt very honored to be there. 1580 01:22:45.003 --> 01:22:49.262 I could feel the energy of so many people. 1581 01:22:49.429 --> 01:22:53.938 I was 19. I was at a crossroad. 1582 01:22:54.105 --> 01:22:56.443 Obviously, I had some success. 1583 01:22:56.694 --> 01:22:58.823 We had done For Once in My Life, 1584 01:22:58.906 --> 01:23:01.077 I Was Made to Love Her, and Up‐Tight, 1585 01:23:01.244 --> 01:23:02.914 and many songs. 1586 01:23:02.998 --> 01:23:04.250 (VOCALIZING) 1587 01:23:04.333 --> 01:23:06.004 But I had the feeling 1588 01:23:06.087 --> 01:23:08.383 the world was wanting a change. 1589 01:23:08.926 --> 01:23:11.974 We were moving into a whole 'nother time and space 1590 01:23:12.057 --> 01:23:13.351 with music and with sound. 1591 01:23:13.519 --> 01:23:15.022 (SINGING) Yeah 1592 01:23:15.189 --> 01:23:17.986 You better listen to me Yeah, yeah 1593 01:23:18.153 --> 01:23:22.829 Heartaches are callin' Tears are fallin' over you 1594 01:23:22.913 --> 01:23:24.791 (VOCALIZES) 1595 01:23:25.042 --> 01:23:27.129 And when you're gone 1596 01:23:27.213 --> 01:23:30.720 I'm the one to go to her rescue 1597 01:23:30.887 --> 01:23:32.599 Understand me 1598 01:23:32.766 --> 01:23:36.649 You're gonna leave her One too many times 1599 01:23:36.815 --> 01:23:41.324 And when you come back She's gonna be mine, all mine 1600 01:23:41.534 --> 01:23:44.038 CHRIS ROCK: In '69, Stevie's bordering on, 1601 01:23:44.121 --> 01:23:45.833 is he gonna be like the Temptations, 1602 01:23:46.000 --> 01:23:48.548 singing his '60s hits for the rest of his life, 1603 01:23:48.965 --> 01:23:51.427 or is he gonna have this breakthrough? 1604 01:23:51.595 --> 01:23:54.225 It would have been very easy to sit where he was. 1605 01:23:54.392 --> 01:23:57.524 To be that famous and not lazy, is amazing. 1606 01:25:12.339 --> 01:25:15.053 WONDER: I enjoyed doing those songs, 1607 01:25:15.220 --> 01:25:17.559 but there was this thing in my heart that said, 1608 01:25:17.726 --> 01:25:20.397 "Okay, there is so much more that you're writing." 1609 01:25:20.565 --> 01:25:24.656 Where was this going to lead me, what was my motivation? 1610 01:25:25.742 --> 01:25:26.827 (CONTINUES PLAYING KEYBOARD) 1611 01:25:28.622 --> 01:25:29.624 People would say to me, 1612 01:25:29.791 --> 01:25:32.212 "Hey, you shouldn't say this, you shouldn't talk about that, 1613 01:25:32.379 --> 01:25:33.674 "you're gonna mess your career up, 1614 01:25:33.758 --> 01:25:35.469 "you're gonna mess your records up." 1615 01:25:36.345 --> 01:25:37.640 In my mind, I said, 1616 01:25:37.724 --> 01:25:39.101 "I don't give a four‐letter word." 1617 01:25:40.730 --> 01:25:44.780 I never wanted to let fear put my dreams to sleep. 1618 01:25:44.946 --> 01:25:47.786 Hey, whoo! 1619 01:25:47.952 --> 01:25:49.288 NEWS REPORTER 2: Stevie is getting into 1620 01:25:49.371 --> 01:25:50.373 political involvement. 1621 01:25:50.583 --> 01:25:52.169 I'm definitely for it. 1622 01:25:52.252 --> 01:25:54.006 I'm for people registering and voting. 1623 01:25:54.173 --> 01:25:56.093 I want people to start doing things. 1624 01:25:56.177 --> 01:25:58.557 Action is important, gaining power. 1625 01:25:58.724 --> 01:26:00.268 We know we've got the soul power. 1626 01:26:00.435 --> 01:26:01.814 I would like to raise money. 1627 01:26:01.980 --> 01:26:03.609 We've got forty million starving people. 1628 01:26:03.776 --> 01:26:05.237 We are dealing with joblessness. 1629 01:26:05.403 --> 01:26:06.865 YOUNG WONDER: Racism is in this country. 1630 01:26:07.032 --> 01:26:08.117 We're dealing with homelessness. 1631 01:26:08.284 --> 01:26:09.453 NEWS REPORTER 3: Stevie was performing 1632 01:26:09.538 --> 01:26:10.790 for over 10,000 people. 1633 01:26:10.957 --> 01:26:12.459 YOUNG WONDER: To demand Doctor Martin Luther King's 1634 01:26:12.544 --> 01:26:14.756 birthday become a national holiday. 1635 01:26:14.923 --> 01:26:16.425 YOUNG JESSE: If something new doesn't happen now... 1636 01:26:16.635 --> 01:26:18.848 We are not African, we are not European, 1637 01:26:19.098 --> 01:26:22.396 we are a new people. We are a beautiful people. 1638 01:26:22.522 --> 01:26:26.989 I had pride in the fact that I was a Black man. 1639 01:26:27.197 --> 01:26:29.326 ‐I am Black. ‐CROWD: I am Black. 1640 01:26:29.493 --> 01:26:30.913 ‐I am beautiful. ‐CROWD: I am beautiful. 1641 01:26:31.080 --> 01:26:32.499 I am proud. 1642 01:26:34.336 --> 01:26:36.592 SHARPTON: '69 was the pivotal year 1643 01:26:36.758 --> 01:26:41.434 where the Negro died and Black was born. 1644 01:26:46.612 --> 01:26:47.864 (CROWD CHEERING) 1645 01:26:56.840 --> 01:26:58.886 LEWIS: It was a significant change 1646 01:26:58.969 --> 01:27:00.305 calling yourself Black. 1647 01:27:00.598 --> 01:27:02.392 In the early '60s, 1648 01:27:02.476 --> 01:27:04.313 if you called someone Black, 1649 01:27:04.438 --> 01:27:06.985 it meant you wanted to fight them. 1650 01:27:07.069 --> 01:27:09.239 'Cause no one wanted to hear that mess. 1651 01:27:09.950 --> 01:27:13.164 Why do we think of Black as bad and white as good? 1652 01:27:13.498 --> 01:27:17.339 White symbolizes purity, honesty, innocence. 1653 01:27:17.507 --> 01:27:21.389 Black represents evil, wickedness, and gloom. 1654 01:27:21.598 --> 01:27:24.688 Whites gave "Black" its negative meaning. 1655 01:27:27.819 --> 01:27:30.533 HUNTER‐GAULT: In 1969, I was working at The New York Times, 1656 01:27:30.700 --> 01:27:33.037 and I spent a lot of time in Harlem. 1657 01:27:33.204 --> 01:27:35.960 And for the first time, I wrote "Black" 1658 01:27:36.043 --> 01:27:38.423 instead of "Negro" in a story 1659 01:27:38.590 --> 01:27:40.010 because I listened to the community. 1660 01:27:40.176 --> 01:27:41.262 I listened to the people 1661 01:27:41.345 --> 01:27:42.807 who were calling for the change. 1662 01:27:42.974 --> 01:27:45.311 But some white editor 1663 01:27:45.478 --> 01:27:49.988 changed my wording from "Black" back to "Negro." 1664 01:27:50.155 --> 01:27:52.618 I was so upset. 1665 01:27:52.785 --> 01:27:57.377 I dictated an 11‐page memo calling for the change. 1666 01:27:57.587 --> 01:28:00.175 And the editor, Abe Rosenthal, said, 1667 01:28:00.341 --> 01:28:02.262 "Fine, that's what we're gonna do." 1668 01:28:02.429 --> 01:28:04.768 From that point on, at The New York Times, 1669 01:28:04.934 --> 01:28:09.527 people of color, this color, were referred to as Black. 1670 01:28:11.698 --> 01:28:13.869 MAVIS: We were Black and we were proud. 1671 01:28:14.036 --> 01:28:17.794 When we started singin' freedom songs, message songs, 1672 01:28:17.960 --> 01:28:20.090 the Black Panthers, Fred Hampton, 1673 01:28:20.256 --> 01:28:22.887 Stokely and his boys would come hear us sing. 1674 01:28:23.054 --> 01:28:25.266 And they would let my sister Yvonne and I know, 1675 01:28:25.433 --> 01:28:27.688 "We're watching y'all, ain't nobody gonna mess with y'all." 1676 01:28:27.897 --> 01:28:30.528 Black militancy and its accent on Black pride 1677 01:28:30.694 --> 01:28:32.657 is having a growing effect across the country. 1678 01:28:32.824 --> 01:28:37.457 1969, I was droppin' out of college to make a revolution. 1679 01:28:37.625 --> 01:28:39.461 The people have the power to force 1680 01:28:39.546 --> 01:28:41.298 some kind of justice being done in society 1681 01:28:41.465 --> 01:28:43.094 because only when the power is in the hands of the people 1682 01:28:43.261 --> 01:28:44.346 is anything gonna get done. 1683 01:28:44.514 --> 01:28:47.937 OLIVER‐VELEZ: When we kicked off the Young Lords Party in New York. 1684 01:28:48.104 --> 01:28:50.275 NEWS REPORTER 4: Tactics have included a garbage blockade, 1685 01:28:50.358 --> 01:28:52.070 the occupation of a neighborhood church. 1686 01:28:52.279 --> 01:28:53.532 They also occupied, for a time, 1687 01:28:53.615 --> 01:28:54.617 part of a hospital. 1688 01:28:54.784 --> 01:28:56.788 We're fighting for our own people, Puerto Ricans, 1689 01:28:57.330 --> 01:28:59.334 but it's a fight that's in the interest of Black people, 1690 01:28:59.501 --> 01:29:00.838 of poor white people in this country, 1691 01:29:00.921 --> 01:29:01.923 the Asian‐Americans. 1692 01:29:02.132 --> 01:29:04.303 OLIVER‐VELEZ: We were in complete harmony 1693 01:29:04.386 --> 01:29:05.598 with the Black Panthers. 1694 01:29:05.764 --> 01:29:07.392 BULLWHIP: We were tired of what was happenin'. 1695 01:29:07.560 --> 01:29:08.937 The police runnin' amok, 1696 01:29:09.062 --> 01:29:11.025 beatin' up on all kinds of people. 1697 01:29:11.233 --> 01:29:12.862 Young men is killed by the police. 1698 01:29:13.070 --> 01:29:16.536 TEACHER: Who is this? CHILDREN: Huey P. Newton. 1699 01:29:16.703 --> 01:29:18.164 And where is Huey? 1700 01:29:18.331 --> 01:29:19.584 CHILDREN: In jail. 1701 01:29:19.751 --> 01:29:20.878 Who put him there? 1702 01:29:21.045 --> 01:29:22.047 CHILDREN: The pigs. 1703 01:29:22.255 --> 01:29:23.967 BULLWHIP: At the same time as the festival, 1704 01:29:24.051 --> 01:29:26.890 the Panther 21 trial was happening downtown. 1705 01:29:27.057 --> 01:29:29.604 I want everybody in Harlem to get this record down. 1706 01:29:29.812 --> 01:29:32.025 We got some brothers that are political prisoners. 1707 01:29:32.192 --> 01:29:34.906 21 Panthers locked up here in New York. 1708 01:29:35.073 --> 01:29:36.367 OLIVER‐VELEZ: As activists, 1709 01:29:36.450 --> 01:29:39.749 we were making a complete and total commitment. 1710 01:29:39.916 --> 01:29:41.335 It was like going to war, 1711 01:29:41.502 --> 01:29:46.428 and we were propelled on a wave of music. 1712 01:29:47.055 --> 01:29:48.517 (MUSIC INTENSIFYING) 1713 01:29:59.831 --> 01:30:01.333 TATE: With Black musical expression, 1714 01:30:01.500 --> 01:30:03.797 there's a certain kind of release and catharsis. 1715 01:30:04.047 --> 01:30:06.302 There's also rage, there's also trauma. 1716 01:30:09.308 --> 01:30:11.688 This notion of spirit possession from Africa 1717 01:30:11.855 --> 01:30:15.696 gets translated into this horrific American experience. 1718 01:30:16.781 --> 01:30:17.950 (MUSIC DISTORTING) 1719 01:30:21.708 --> 01:30:23.461 The artists connect with the pain. 1720 01:30:23.628 --> 01:30:24.922 It's like, yeah, I want you to feel. 1721 01:30:25.089 --> 01:30:26.091 I want you to feel 1722 01:30:26.175 --> 01:30:27.845 who Sonny Sharrock really is right now. 1723 01:30:31.644 --> 01:30:33.815 There is a primal, therapeutic aspect to it. 1724 01:30:33.982 --> 01:30:35.527 They call it "freedom music" 1725 01:30:35.611 --> 01:30:37.531 because it's what freedom feels like. 1726 01:30:57.278 --> 01:30:59.534 PARRIS: These musicians were expressing musically 1727 01:30:59.700 --> 01:31:01.704 what we were thinking and feeling 1728 01:31:01.788 --> 01:31:03.124 politically and culturally. 1729 01:31:06.589 --> 01:31:09.052 RAOUL ROACH: When my dad put out a song called It's Time, 1730 01:31:09.219 --> 01:31:11.975 he was not trying to be slick and have a message. 1731 01:31:12.142 --> 01:31:13.394 No, that is the message. 1732 01:31:13.562 --> 01:31:17.068 It's our time, it's time, do it now. 1733 01:31:17.444 --> 01:31:18.738 We want liberation. 1734 01:31:20.199 --> 01:31:22.078 He wanted to make change. 1735 01:31:22.287 --> 01:31:24.750 MAX ROACH: An important step for the Black artist to take 1736 01:31:24.917 --> 01:31:27.338 is to engage ourselves in ownership 1737 01:31:27.506 --> 01:31:30.011 of not only artistic properties, 1738 01:31:30.094 --> 01:31:31.430 but physical properties. 1739 01:31:31.598 --> 01:31:34.060 The theaters, the clubs, the record companies. 1740 01:31:35.689 --> 01:31:36.941 RAOUL: But his record company 1741 01:31:37.025 --> 01:31:39.112 was not interested in politics. 1742 01:31:39.279 --> 01:31:41.074 It's like what they say to the basketball players today, 1743 01:31:41.241 --> 01:31:42.703 "Just play basketball." 1744 01:31:42.786 --> 01:31:44.624 Well, they were saying, "Just play drums." 1745 01:31:48.882 --> 01:31:51.136 PARRIS: I was coming to hear Max and Abbey. 1746 01:31:51.345 --> 01:31:53.015 They were like our power couple, 1747 01:31:53.098 --> 01:31:54.476 but Black power. 1748 01:31:54.644 --> 01:31:57.148 (SINGING) I traveled here and yonder 1749 01:31:57.357 --> 01:31:59.987 I never found a home 1750 01:32:00.154 --> 01:32:04.830 I guess it must be written All my life to roam 1751 01:32:04.997 --> 01:32:08.128 They were so beautiful, and young and dynamic. 1752 01:32:08.420 --> 01:32:13.472 There's a land of milk and honey 1753 01:32:13.640 --> 01:32:17.063 On the river they call the Nile 1754 01:32:17.272 --> 01:32:19.777 RAOUL: You know this phrase "unapologetically Black"? 1755 01:32:19.944 --> 01:32:22.700 They lived that phrase every day. 1756 01:32:22.866 --> 01:32:25.496 The African woman always worked 1757 01:32:25.581 --> 01:32:27.585 to bring home the bread. 1758 01:32:27.835 --> 01:32:29.839 You do whatever is necessary. 1759 01:32:30.006 --> 01:32:32.468 Oh, beautiful, wonderful Africa 1760 01:32:32.636 --> 01:32:34.599 Someday I'm coming 1761 01:32:34.765 --> 01:32:38.898 I'm coming for to see the promised land 1762 01:32:39.065 --> 01:32:41.445 I'll stop in 1763 01:32:41.613 --> 01:32:43.908 RAOUL: My dad and Abbey just didn't see 1764 01:32:43.992 --> 01:32:47.040 the civil rights struggle as an American thing. 1765 01:32:47.248 --> 01:32:48.793 They saw the struggles in the Caribbean 1766 01:32:49.002 --> 01:32:50.881 and South America and in Africa 1767 01:32:51.214 --> 01:32:53.302 all as part of a common struggle. 1768 01:32:54.012 --> 01:32:55.014 TV HOST: South Africa. 1769 01:32:55.097 --> 01:32:57.393 The problems that face Black people everywhere 1770 01:32:57.561 --> 01:32:58.605 are essentially the same, 1771 01:32:58.688 --> 01:33:01.986 oppressed by racist institutions created by whites. 1772 01:33:02.153 --> 01:33:04.491 You guys can use certain kinds of support. 1773 01:33:04.659 --> 01:33:07.163 We do have to launch an armed struggle. 1774 01:33:07.330 --> 01:33:09.960 LAWRENCE: From the African continent to the heart of Harlem, 1775 01:33:10.127 --> 01:33:12.758 Hugh Masekela, doing his thing. 1776 01:33:12.841 --> 01:33:14.804 (SINGING IN SOUTHERN SOTHO) 1777 01:33:22.318 --> 01:33:23.320 OLIVER‐VELEZ: (IN ENGLISH) In Harlem, 1778 01:33:23.404 --> 01:33:26.326 we were being exposed to linkages 1779 01:33:26.493 --> 01:33:30.042 between Latinos, Blackness, Africa. 1780 01:33:30.251 --> 01:33:34.092 And Hugh Masekela brings that together. 1781 01:33:35.177 --> 01:33:36.471 (CONTINUES SINGING) 1782 01:33:36.597 --> 01:33:38.434 SELEMA MASEKELA: When my dad left South Africa, 1783 01:33:38.518 --> 01:33:40.271 it was during the height of apartheid, 1784 01:33:40.354 --> 01:33:42.233 and he's literally escaping apartheid. 1785 01:33:43.402 --> 01:33:44.446 (CONTINUES SINGING) 1786 01:33:48.747 --> 01:33:50.751 SELEMA: He comes to America 1787 01:33:50.834 --> 01:33:54.174 and lands straight into the hotbed of civil rights. 1788 01:34:00.311 --> 01:34:02.148 At the time, Grazing in the Grass 1789 01:34:02.231 --> 01:34:04.486 was one of the biggest songs on the planet. 1790 01:34:04.653 --> 01:34:06.783 My father realized there was this real hunger 1791 01:34:06.949 --> 01:34:09.872 for Black Americans to feel and see and taste 1792 01:34:09.955 --> 01:34:12.795 what it would be like to be African. 1793 01:34:21.938 --> 01:34:23.608 My father loved Harlem. 1794 01:34:23.691 --> 01:34:25.612 He always wanted to be within the people. 1795 01:34:25.946 --> 01:34:28.450 If it was poppin' off somewhere where people were 1796 01:34:28.618 --> 01:34:31.541 disenfranchised, disempowered, or needed support, 1797 01:34:31.707 --> 01:34:33.168 it was like a tractor beam for him. 1798 01:34:33.335 --> 01:34:36.258 Like, he had to go and be part of it. 1799 01:34:52.958 --> 01:34:54.127 (CROWD CHEERING) 1800 01:34:54.377 --> 01:34:55.421 HUGH MASEKELA: In general, 1801 01:34:55.589 --> 01:34:57.174 you'll find that musicians come from 1802 01:34:57.258 --> 01:34:58.845 the activist part of their populations, 1803 01:34:59.012 --> 01:35:02.769 and they come usually from the poor side of town 1804 01:35:02.936 --> 01:35:06.903 or represent the opinions of the people who are exploited. 1805 01:35:07.069 --> 01:35:09.449 NINA SIMONE: An artist's duty, as far as I'm concerned, 1806 01:35:09.533 --> 01:35:11.494 is to reflect the times. 1807 01:35:11.662 --> 01:35:13.791 And at this crucial time in our lives, 1808 01:35:13.875 --> 01:35:15.795 when everything is so desperate, 1809 01:35:15.962 --> 01:35:18.133 when every day is a matter of survival, 1810 01:35:18.216 --> 01:35:19.344 I don't think you have a choice. 1811 01:35:19.511 --> 01:35:21.933 How can you be an artist and not reflect the times? 1812 01:35:22.099 --> 01:35:23.352 LAWRENCE: Ladies and gentlemen, 1813 01:35:23.519 --> 01:35:26.358 we would like to introduce a young lady 1814 01:35:26.525 --> 01:35:29.113 who tells the story about the troubles 1815 01:35:29.197 --> 01:35:31.034 and tribulations of the ghetto. 1816 01:35:31.577 --> 01:35:35.167 The new Black struggle, the first lady of soul, 1817 01:35:35.334 --> 01:35:36.712 Nina Simone. 1818 01:35:36.796 --> 01:35:38.967 (CROWD CHEERING LOUDLY) 1819 01:35:45.312 --> 01:35:47.149 We walked on water to see Nina Simone. 1820 01:35:50.239 --> 01:35:52.243 She looked like a African princess. 1821 01:35:53.579 --> 01:35:56.585 She would bang those piano keys. 1822 01:36:00.802 --> 01:36:04.142 Her fearlessness, and her control as a woman, 1823 01:36:04.308 --> 01:36:06.939 as a Black woman, was just awesome. 1824 01:36:07.106 --> 01:36:08.609 She was sending a message. 1825 01:36:13.786 --> 01:36:17.209 (SINGING) Mr. Backlash, Mr. Backlash 1826 01:36:17.376 --> 01:36:19.464 Who do you think I am? 1827 01:36:20.340 --> 01:36:22.929 You raise my taxes and freeze my wages 1828 01:36:23.096 --> 01:36:25.935 Send my only son to Vietnam 1829 01:36:26.854 --> 01:36:29.860 You give me second‐class houses 1830 01:36:29.943 --> 01:36:32.657 Second‐class schools 1831 01:36:32.824 --> 01:36:34.452 I know you think that all colored people 1832 01:36:34.536 --> 01:36:37.500 Are just second‐class fools 1833 01:36:37.667 --> 01:36:39.922 Mr. Backlash 1834 01:36:41.132 --> 01:36:45.057 I'm gonna leave you with the blues, yes, I am 1835 01:36:45.224 --> 01:36:48.564 Yes, I am Yes, I am 1836 01:36:49.148 --> 01:36:53.490 When I try to find a job 1837 01:36:53.658 --> 01:36:56.496 To earn a little cash 1838 01:36:56.664 --> 01:36:58.458 All you got to offer 1839 01:36:58.543 --> 01:37:01.172 Is your mean, old white backlash 1840 01:37:01.339 --> 01:37:03.928 But the world is big 1841 01:37:05.055 --> 01:37:07.769 Big and bright and round 1842 01:37:08.436 --> 01:37:10.107 It's full of other folks like me 1843 01:37:10.190 --> 01:37:14.031 Who are Black, yellow, beige and brown 1844 01:37:14.198 --> 01:37:16.954 Mr. Backlash 1845 01:37:17.121 --> 01:37:21.462 I'm gonna leave you with the blues, yes, I am 1846 01:37:21.630 --> 01:37:23.551 Yes, I am 1847 01:37:26.347 --> 01:37:28.310 Hey, now 1848 01:37:33.445 --> 01:37:34.865 Yeah 1849 01:37:40.752 --> 01:37:43.173 OLIVER‐VELEZ: Nina Simone was filtering 1850 01:37:43.256 --> 01:37:44.760 what was going on in this country 1851 01:37:44.927 --> 01:37:48.726 through her experience as a Black woman. 1852 01:37:48.976 --> 01:37:52.149 She knew what barriers she was breaking 1853 01:37:52.316 --> 01:37:54.403 and threw them back in people's faces. 1854 01:38:02.419 --> 01:38:05.092 (SINGING) When Langston Hughes died 1855 01:38:05.593 --> 01:38:07.597 He told me many years before 1856 01:38:07.764 --> 01:38:11.730 He said "Nina, keep on workin' 1857 01:38:11.855 --> 01:38:13.943 "Till they open up the door 1858 01:38:14.110 --> 01:38:16.824 "One of these days when they open the door 1859 01:38:16.991 --> 01:38:20.080 "And it's, you know it's open wide 1860 01:38:20.247 --> 01:38:23.003 "Make sure you sock it to 'em where they live 1861 01:38:23.169 --> 01:38:25.675 "So they'll have no place to hide" 1862 01:38:25.842 --> 01:38:27.637 So I'm tellin' you 1863 01:38:27.804 --> 01:38:32.271 Yeah, I got to do it in the hot sun 1864 01:38:32.438 --> 01:38:35.987 But, if necessary Got to do it 1865 01:38:36.905 --> 01:38:38.784 Yeah 1866 01:38:38.951 --> 01:38:40.913 Oh, God 1867 01:38:41.497 --> 01:38:45.422 I'm gonna leave you with the blues 1868 01:38:45.590 --> 01:38:48.679 Yes, I am Yeah 1869 01:38:49.765 --> 01:38:51.977 (CROWD CHEERING LOUDLY) 1870 01:38:59.325 --> 01:39:01.245 SIMONE: Hello, hello, hello. 1871 01:39:02.331 --> 01:39:05.880 Remember Lorraine Hansberry who wrote Raisin in the Sun? 1872 01:39:06.590 --> 01:39:07.884 ‐Huh? ‐CROWD: Yeah! 1873 01:39:08.093 --> 01:39:10.097 Okay, there is an off‐Broadway show 1874 01:39:10.263 --> 01:39:12.519 going on downtown right now 1875 01:39:12.602 --> 01:39:14.523 called To Be Young, Gifted and Black. 1876 01:39:14.689 --> 01:39:15.983 Some of you have seen it. 1877 01:39:16.150 --> 01:39:18.238 It is not a musical, as you know, 1878 01:39:18.321 --> 01:39:19.699 but we have taken 1879 01:39:19.866 --> 01:39:22.329 Weldon Irvine, who is my musical director, 1880 01:39:22.496 --> 01:39:26.797 and I have taken the title and come up with a song, 1881 01:39:26.964 --> 01:39:30.429 To Be Young, Gifted and Black. 1882 01:39:35.188 --> 01:39:39.906 (SINGING) To be young, gifted and Black 1883 01:39:41.242 --> 01:39:47.171 Oh, what a lovely, precious dream 1884 01:39:48.716 --> 01:39:53.475 To be young, gifted and Black 1885 01:39:54.477 --> 01:40:00.781 Open your heart to what I mean 1886 01:40:01.742 --> 01:40:06.585 In the whole world you know 1887 01:40:07.545 --> 01:40:13.431 There's a million boys and girls 1888 01:40:14.016 --> 01:40:19.193 Who are young, gifted and Black 1889 01:40:20.780 --> 01:40:22.992 And that's a fact 1890 01:40:24.036 --> 01:40:27.125 HUNTER‐GAULT: Nina Simone gave us hope. 1891 01:40:27.292 --> 01:40:32.052 (SINGING) You are young, gifted and Black 1892 01:40:33.012 --> 01:40:37.437 We must begin to tell our young 1893 01:40:37.605 --> 01:40:39.734 "There's a world waiting for you. 1894 01:40:39.901 --> 01:40:41.738 "The quest has just begun." 1895 01:40:41.905 --> 01:40:44.578 (SINGING) There's a world waiting for you 1896 01:40:45.580 --> 01:40:51.007 Yours is the quest that's just begun 1897 01:40:51.173 --> 01:40:52.426 HUNTER‐GAULT: In 1961, 1898 01:40:52.635 --> 01:40:55.140 my high school classmate Hamilton Holmes and I 1899 01:40:55.307 --> 01:40:59.858 became the first two Black students to desegregate the University of Georgia. 1900 01:41:00.025 --> 01:41:01.444 I wanted to be a journalist 1901 01:41:01.528 --> 01:41:03.741 and it had a school of journalism. 1902 01:41:03.949 --> 01:41:05.536 REPORTER: What are your plans now 1903 01:41:05.620 --> 01:41:07.749 as far as this quarter is concerned? 1904 01:41:07.915 --> 01:41:10.086 I'll have to think it over. 1905 01:41:10.671 --> 01:41:13.217 HUNTER‐GAULT: Many white students didn't want us there. 1906 01:41:13.384 --> 01:41:14.596 REPORTER 2: Do you think there'd be any trouble 1907 01:41:14.679 --> 01:41:16.349 if a Negro entered the university? 1908 01:41:16.516 --> 01:41:18.771 Well, I do if they were gonna put her in the dormitories. 1909 01:41:18.937 --> 01:41:20.357 How do you yourself feel? 1910 01:41:20.524 --> 01:41:22.904 Well, I wouldn't myself like it. 1911 01:41:23.237 --> 01:41:24.406 HUNTER‐GAULT: The second or third night 1912 01:41:24.490 --> 01:41:25.492 I was on campus, 1913 01:41:25.576 --> 01:41:26.787 there was a riot. 1914 01:41:28.624 --> 01:41:31.755 SIMONE: (SINGING) Oh, how I long to know the truth 1915 01:41:31.922 --> 01:41:33.634 HUNTER‐GAULT: They put me in a dormitory 1916 01:41:33.717 --> 01:41:34.969 on the first floor. 1917 01:41:35.136 --> 01:41:37.140 All of the girls in my dorm 1918 01:41:37.224 --> 01:41:38.977 were housed on the second floor 1919 01:41:39.144 --> 01:41:42.442 and they used to take turns beating on the floor 1920 01:41:42.610 --> 01:41:44.864 'cause they knew exactly where my room was. 1921 01:41:45.365 --> 01:41:48.204 But I had Nina Simone's albums. 1922 01:41:48.371 --> 01:41:51.712 So, while the girls were upstairs beating on the floor, 1923 01:41:51.878 --> 01:41:53.590 trying to make me uncomfortable, 1924 01:41:53.799 --> 01:41:56.387 I was listening to Nina Simone 1925 01:41:56.555 --> 01:41:59.309 and just being very at peace. 1926 01:41:59.476 --> 01:42:04.236 SIMONE: (SINGING) To be young, gifted and Black 1927 01:42:05.531 --> 01:42:07.869 Is where it's at 1928 01:42:08.411 --> 01:42:10.624 Is where it's at 1929 01:42:11.250 --> 01:42:14.298 Is where it's at 1930 01:42:17.053 --> 01:42:18.347 (CROWD CHEERING LOUDLY) 1931 01:42:22.523 --> 01:42:25.403 SHARPTON: Nina Simone sung that in her tone 1932 01:42:25.571 --> 01:42:29.077 that is somewhere between hope and mourning. 1933 01:42:29.244 --> 01:42:33.796 I mean, nobody could capture both spirits like Nina. 1934 01:42:33.962 --> 01:42:35.883 It defined a whole generation 1935 01:42:36.050 --> 01:42:38.722 because you could hear in her voice 1936 01:42:38.889 --> 01:42:41.895 our pain, but our defiance. 1937 01:42:42.270 --> 01:42:43.314 SIMONE: Okay. 1938 01:42:43.565 --> 01:42:46.696 Okay. Hold it. Hold it. This is for you. 1939 01:42:46.863 --> 01:42:50.538 It is written by David Nelson. He's not here today. 1940 01:42:50.704 --> 01:42:54.253 There are three Black poets, or six, or maybe a hundred in this town. 1941 01:42:54.419 --> 01:42:56.550 But he's not here and I didn't memorize it enough 1942 01:42:56.633 --> 01:42:57.635 so I have to read it. 1943 01:42:57.802 --> 01:42:59.054 It's for you. 1944 01:42:59.806 --> 01:43:02.310 (SINGING) Are you ready, Black people? 1945 01:43:02.520 --> 01:43:04.231 CROWD: Yeah! 1946 01:43:04.398 --> 01:43:05.609 BACKUP SINGERS: Are you ready? 1947 01:43:05.776 --> 01:43:07.362 Are you really ready? 1948 01:43:07.530 --> 01:43:08.532 CROWD: Yeah! 1949 01:43:08.866 --> 01:43:09.868 BACKUP SINGERS: Are you ready? 1950 01:43:10.076 --> 01:43:13.291 Ready to do what is necessary? 1951 01:43:13.457 --> 01:43:14.459 BACKUP SINGERS: Are you ready? 1952 01:43:14.627 --> 01:43:16.548 SIMONE: Are you ready, Black man? 1953 01:43:17.424 --> 01:43:18.426 BACKUP SINGERS: Are you ready? 1954 01:43:18.510 --> 01:43:19.804 Black woman, are you ready? 1955 01:43:19.971 --> 01:43:21.473 ‐Are you ready, ready, ready? ‐WOMEN: Yeah! 1956 01:43:21.641 --> 01:43:22.852 BACKUP SINGERS: Are you ready? 1957 01:43:23.019 --> 01:43:24.772 Hear me good now Hear me good now 1958 01:43:24.856 --> 01:43:25.900 Hear me good now 1959 01:43:25.983 --> 01:43:26.985 BACKUP SINGERS: Are you ready? 1960 01:43:27.068 --> 01:43:29.197 Are you ready to kill if necessary? 1961 01:43:29.281 --> 01:43:30.283 CROWD: Yeah! 1962 01:43:30.450 --> 01:43:31.452 Are you ready? 1963 01:43:31.536 --> 01:43:33.247 Is your mind ready? 1964 01:43:33.331 --> 01:43:34.333 CROWD: Yeah! 1965 01:43:34.416 --> 01:43:36.211 Is your body ready? 1966 01:43:36.295 --> 01:43:38.090 CROWD: Yeah! 1967 01:43:38.675 --> 01:43:39.719 BACKUP SINGERS: Are you ready? 1968 01:43:39.886 --> 01:43:42.808 Are you ready to smash white things? 1969 01:43:42.975 --> 01:43:44.102 BACKUP SINGERS: Are you ready? 1970 01:43:44.186 --> 01:43:45.898 CROWD: Yeah! 1971 01:43:46.315 --> 01:43:47.359 To burn buildings 1972 01:43:47.442 --> 01:43:48.444 ‐Are you ready? ‐CROWD: Yeah. 1973 01:43:48.528 --> 01:43:51.826 On one side of 125th Street, an angry crowd of young people. 1974 01:43:51.910 --> 01:43:54.707 Across the street, plans for a state office building. 1975 01:43:54.874 --> 01:43:57.713 This whole section of town here will be destroyed 1976 01:43:57.880 --> 01:43:59.466 if a school don't go out there. 1977 01:43:59.634 --> 01:44:01.805 They got plenty land downtown to build a state building. 1978 01:44:01.972 --> 01:44:03.140 Why they come up here and pick Harlem, 1979 01:44:03.307 --> 01:44:05.436 where all the colored people and the Puerto Ricans are? 1980 01:44:05.604 --> 01:44:06.606 (SINGING) Black everybody 1981 01:44:06.690 --> 01:44:09.696 Are you really, really really ready? 1982 01:44:09.779 --> 01:44:11.533 (CROWD CHEERS) 1983 01:44:11.825 --> 01:44:12.952 SIMONE: Are you ready to listen 1984 01:44:13.035 --> 01:44:14.872 To all the beautiful Black voices? 1985 01:44:15.039 --> 01:44:16.751 The beautiful Black feeling? 1986 01:44:16.918 --> 01:44:20.049 The beautiful Black waves moving in beautiful air? 1987 01:44:20.216 --> 01:44:21.886 Are you ready to love Black? 1988 01:44:22.053 --> 01:44:23.305 Always loving Black? 1989 01:44:23.472 --> 01:44:26.270 Are you ready, Black people? Are you ready? 1990 01:44:26.353 --> 01:44:28.065 (CROWD CHEERING LOUDLY) 1991 01:44:28.734 --> 01:44:29.944 BACKUP SINGERS: Are you ready? 1992 01:44:30.111 --> 01:44:32.282 SIMONE: Are you ready to change? 1993 01:44:32.449 --> 01:44:36.415 Into a groovy, groovy Black person? 1994 01:44:36.583 --> 01:44:39.129 Are you really ready to change yourself? 1995 01:44:39.296 --> 01:44:42.469 Turn yourself inside out Through and through 1996 01:44:42.636 --> 01:44:45.391 And make yourself a through and through 1997 01:44:45.475 --> 01:44:46.644 And through and through 1998 01:44:46.811 --> 01:44:50.359 And through and through and through 1999 01:44:50.527 --> 01:44:52.155 Real Black person? 2000 01:44:52.322 --> 01:44:54.827 I say, are you ready? 2001 01:44:54.911 --> 01:44:57.165 (CROWD CHEERING LOUDLY) 2002 01:44:58.501 --> 01:45:00.171 LAWRENCE: Ladies and gentlemen, 2003 01:45:00.338 --> 01:45:02.510 brothers and sisters, 2004 01:45:02.676 --> 01:45:05.181 Nina Simone. 2005 01:45:05.766 --> 01:45:07.268 BACKUP SINGERS: Are you ready? 2006 01:45:07.978 --> 01:45:13.657 PARRIS: That concert was like a rose comin' through cement. 2007 01:45:14.491 --> 01:45:16.078 It was a good thing for Harlem 2008 01:45:16.245 --> 01:45:18.667 because as much as Harlem has been maligned 2009 01:45:18.750 --> 01:45:19.752 over the years 2010 01:45:19.919 --> 01:45:21.463 for the crime and the drugs, 2011 01:45:21.631 --> 01:45:23.593 there was a bunch of folk, 2012 01:45:23.760 --> 01:45:26.223 law‐abiding, productive citizens, 2013 01:45:26.306 --> 01:45:28.603 never used drugs, went to work every day, 2014 01:45:28.812 --> 01:45:31.568 took care of business, very community‐oriented 2015 01:45:31.651 --> 01:45:33.320 and loved Harlem. 2016 01:45:33.487 --> 01:45:36.118 Loved where they lived, loved their community. 2017 01:45:38.790 --> 01:45:41.588 MUSA: It was like nothing I'd ever felt before in my life. 2018 01:45:42.338 --> 01:45:46.096 Before that, the world was like black and white. 2019 01:45:46.263 --> 01:45:48.977 The concert took my life into color. 2020 01:45:50.062 --> 01:45:52.358 (CROWD CHEERING) 2021 01:45:53.820 --> 01:45:58.454 But then, the festival was forgotten. 2022 01:46:10.353 --> 01:46:13.860 BEATTY‐BARNES: It did not register to me until we were leaving, 2023 01:46:14.236 --> 01:46:16.950 when we realized the magnitude of it. 2024 01:46:17.367 --> 01:46:19.412 But I never turned around and looked. 2025 01:46:23.630 --> 01:46:27.136 LEWIS: Even though the shows were recorded all summer, 2026 01:46:27.303 --> 01:46:31.604 it feels like it happened and then they threw it away. 2027 01:46:34.735 --> 01:46:36.739 TULCHIN: I shot the festival, 2028 01:46:36.823 --> 01:46:38.200 tried to sell it. 2029 01:46:38.367 --> 01:46:40.288 Woodstock was the same year, 2030 01:46:40.454 --> 01:46:43.920 and Woodstock got all of the publicity. 2031 01:46:44.087 --> 01:46:47.553 So, in selling it, I started to call it the Black Woodstock. 2032 01:46:48.095 --> 01:46:49.472 It didn't help. 2033 01:46:49.932 --> 01:46:52.145 Nobody was interested in a Black show. 2034 01:46:52.312 --> 01:46:53.606 Nobody. 2035 01:46:54.525 --> 01:46:57.071 Nobody cared about Harlem. 2036 01:47:00.244 --> 01:47:02.750 PARRIS: As we all know, this has happened to Black people. 2037 01:47:02.916 --> 01:47:04.461 A lot of our history is forgotten. 2038 01:47:04.837 --> 01:47:08.093 I mean, it's not like that festival is an anomaly. 2039 01:47:08.762 --> 01:47:11.350 OLIVER‐VELEZ: We hold these truths to be self‐evident 2040 01:47:11.433 --> 01:47:14.356 that Black history is gonna be erased. 2041 01:47:15.734 --> 01:47:18.865 WONDER: The so‐called powers that are or were 2042 01:47:19.032 --> 01:47:21.244 didn't find it significant enough 2043 01:47:21.328 --> 01:47:24.125 to keep it as a part of history. 2044 01:47:24.292 --> 01:47:26.589 Because it is a part of history. 2045 01:47:27.966 --> 01:47:32.308 MUSA: We were comin' together to say this was our world. 2046 01:47:32.475 --> 01:47:34.354 The Black world. 2047 01:47:34.522 --> 01:47:36.316 This is ours. 2048 01:47:38.487 --> 01:47:40.199 KNIGHT: We, as a people, 2049 01:47:40.366 --> 01:47:42.328 especially today, 2050 01:47:42.495 --> 01:47:46.253 need to feel like family. 2051 01:47:46.963 --> 01:47:49.092 Holdin' up for each other, 2052 01:47:49.259 --> 01:47:51.138 fighting for each other, 2053 01:47:51.304 --> 01:47:53.392 liftin' each other up. 2054 01:47:53.560 --> 01:47:55.730 SLY: We're gonna try to sing a song together if we can. 2055 01:47:55.814 --> 01:47:57.442 (CROWD CHEERING) 2056 01:47:57.860 --> 01:47:59.613 Now, the song is called Higher. 2057 01:48:01.366 --> 01:48:04.247 We'd like to ask everybody to join in. 2058 01:48:04.414 --> 01:48:07.003 Don't wait for approval from your neighbor 2059 01:48:07.170 --> 01:48:09.007 'cause your neighbor might be waiting for you. 2060 01:48:09.884 --> 01:48:11.554 Now, it goes like this. 2061 01:48:12.723 --> 01:48:14.518 (SINGING) Wanna take you higher 2062 01:48:14.602 --> 01:48:15.979 CROWD: Higher 2063 01:48:19.444 --> 01:48:22.576 SLY: Wanna take you higher CROWD: Higher 2064 01:48:26.291 --> 01:48:28.838 SLY: Wanna take you higher CROWD: Higher 2065 01:48:29.005 --> 01:48:30.466 SLY: Higher CROWD: Higher 2066 01:48:30.634 --> 01:48:32.345 SLY: Higher CROWD: Higher 2067 01:48:32.513 --> 01:48:34.892 Higher, yeah, yeah 2068 01:48:38.566 --> 01:48:40.946 ROSE STONE: Hey, now 2069 01:48:47.250 --> 01:48:50.172 Hey Take you higher 2070 01:48:50.339 --> 01:48:53.220 Hey Hey, hey 2071 01:49:05.411 --> 01:49:08.458 ‐Wanna take you higher ‐CROWD: Higher 2072 01:49:08.626 --> 01:49:12.008 ‐Wanna take you higher ‐CROWD: Higher 2073 01:49:12.174 --> 01:49:13.761 FREDDIE STONE: Wanna take you higher 2074 01:49:13.845 --> 01:49:14.888 CROWD: Higher 2075 01:49:15.139 --> 01:49:18.145 ‐Wanna take you higher ‐CROWD: Higher 2076 01:49:18.312 --> 01:49:21.443 FREDDIE: Wanna take you higher CROWD: Higher 2077 01:49:21.611 --> 01:49:24.700 FREDDIE: Wanna take you higher CROWD: Higher 2078 01:49:24.867 --> 01:49:27.914 FREDDIE: Wanna take you higher CROWD: Higher 2079 01:49:28.081 --> 01:49:31.004 FREDDIE: Wanna take you higher CROWD: Higher 2080 01:49:31.379 --> 01:49:33.635 SLY: Wanna take you higher CROWD: Higher 2081 01:49:33.801 --> 01:49:35.220 SLY: Higher CROWD: Higher 2082 01:49:35.387 --> 01:49:37.559 SLY: Higher CROWD: Higher 2083 01:49:40.105 --> 01:49:41.817 ROSE: Higher 2084 01:49:42.778 --> 01:49:44.615 Yeah 2085 01:49:51.044 --> 01:49:52.589 SLY: Feel it take over 2086 01:49:54.217 --> 01:49:55.887 FREDDIE: Feel it take over 2087 01:49:56.889 --> 01:49:59.895 ‐Wanna take you higher ‐CROWD: Higher 2088 01:50:00.062 --> 01:50:03.026 ‐Wanna take you higher ‐CROWD: Higher 2089 01:50:03.193 --> 01:50:06.324 SLY: Wanna take you higher CROWD: Higher 2090 01:50:06.491 --> 01:50:09.665 SLY: Wanna take you higher CROWD: Higher 2091 01:50:09.873 --> 01:50:12.211 ‐Wanna take you higher ‐Higher 2092 01:50:13.004 --> 01:50:15.677 ‐Wanna take you higher ‐Higher 2093 01:50:16.302 --> 01:50:19.225 ‐Wanna take you higher ‐Higher 2094 01:50:19.434 --> 01:50:22.566 ‐Wanna take you higher ‐Higher 2095 01:50:22.649 --> 01:50:24.152 ‐(MUSIC STOPS) ‐Wanna take you higher 2096 01:50:24.235 --> 01:50:25.780 Higher 2097 01:50:25.989 --> 01:50:28.578 ‐Wanna take you higher ‐Higher 2098 01:50:30.832 --> 01:50:32.084 Higher 2099 01:50:34.005 --> 01:50:35.132 Higher 2100 01:50:37.219 --> 01:50:38.514 Higher 2101 01:50:43.774 --> 01:50:46.614 LAWRENCE: Ladies and gentlemen, Sly and the Family Stone. 2102 01:50:46.780 --> 01:50:48.241 Yeah. 2103 01:50:50.329 --> 01:50:51.624 (CHOKING UP) 2104 01:50:53.836 --> 01:50:55.005 I'm sorry. 2105 01:50:59.055 --> 01:51:00.642 It's like... 2106 01:51:02.896 --> 01:51:04.273 You know, it's funny. 2107 01:51:05.025 --> 01:51:07.112 You put memories away, 2108 01:51:07.906 --> 01:51:09.618 and you don't realize... 2109 01:51:09.993 --> 01:51:12.498 Sometimes you don't even know if they're real. (LAUGHS) 2110 01:51:12.666 --> 01:51:18.009 So, it's almost confirmation that what I knew is real. 2111 01:51:18.553 --> 01:51:20.055 QUESTLOVE: Yeah, so, you know you're not crazy, like... 2112 01:51:20.222 --> 01:51:22.476 I'm not crazy! (LAUGHING) 2113 01:51:22.644 --> 01:51:24.313 Thank you! 2114 01:51:24.480 --> 01:51:27.236 QUESTLOVE: So, watching you watch this 2115 01:51:28.029 --> 01:51:29.700 is making me overwhelmed now. 2116 01:51:29.866 --> 01:51:30.910 I thought I was the only person that... 2117 01:51:31.077 --> 01:51:32.872 I knew I wasn't crazy, brother, 2118 01:51:32.956 --> 01:51:35.335 I knew I was not crazy. 2119 01:51:35.502 --> 01:51:37.924 But now I know I'm not. 2120 01:51:38.091 --> 01:51:40.597 And this is just confirmation. 2121 01:51:41.347 --> 01:51:44.061 And not only that... 2122 01:51:45.815 --> 01:51:50.157 how beautiful it was. 2123 01:51:50.240 --> 01:51:52.537 (MUSIC PLAYING) 2124 01:51:52.954 --> 01:51:57.129 LESTER CHAMBERS: (SINGING) Have a little faith 2125 01:51:57.296 --> 01:52:01.054 In the one you love, yeah 2126 01:52:01.220 --> 01:52:04.519 CHAMBERS BROTHERS: Have a little faith 2127 01:52:04.686 --> 01:52:09.445 In the one you love 2128 01:52:11.282 --> 01:52:13.453 LESTER: Nights are cold 2129 01:52:15.207 --> 01:52:17.712 And the days are so long, yeah 2130 01:52:17.879 --> 01:52:19.465 BROTHERS: Yeah 2131 01:52:19.633 --> 01:52:22.514 LESTER: And though I thought I had a little woman 2132 01:52:23.849 --> 01:52:27.106 That I could call my very own, yeah 2133 01:52:28.274 --> 01:52:30.738 But some of her friends 2134 01:52:32.534 --> 01:52:36.249 Told her bad things about me, yeah 2135 01:52:36.750 --> 01:52:39.715 And I tried to tell that little woman 2136 01:52:41.050 --> 01:52:42.887 To believe in me 2137 01:52:43.054 --> 01:52:47.312 I told her, have a little faith 2138 01:52:47.479 --> 01:52:50.737 ALL: In the one you love 2139 01:52:50.903 --> 01:52:52.239 LESTER: Keep the faith, baby 2140 01:52:52.406 --> 01:52:55.705 BROTHERS: Have a little faith 2141 01:52:55.872 --> 01:53:00.380 In the one you love 2142 01:53:02.009 --> 01:53:04.013 LESTER: You know I went to her house 2143 01:53:06.142 --> 01:53:09.148 On a Sunday afternoon, yeah 2144 01:53:10.317 --> 01:53:13.949 I took one look in that woman's face 2145 01:53:14.116 --> 01:53:16.663 And don't you know Everything was gloom 2146 01:53:16.872 --> 01:53:18.542 BROTHERS: Yeah 2147 01:53:18.709 --> 01:53:20.922 LESTER: She said she had a call 2148 01:53:22.717 --> 01:53:26.015 From someone she knew, hey 2149 01:53:27.059 --> 01:53:29.898 They told her bad things about me 2150 01:53:30.398 --> 01:53:32.529 Things I knew just couldn't be true 2151 01:53:32.695 --> 01:53:36.244 I told her to have a little faith 2152 01:53:36.327 --> 01:53:37.329 Oh, Lord 2153 01:53:37.496 --> 01:53:40.545 BROTHERS: In the one you love 2154 01:53:40.753 --> 01:53:42.422 LESTER: Keep the faith Keep the faith 2155 01:53:42.590 --> 01:53:45.847 ALL: Have a little faith 2156 01:53:46.013 --> 01:53:49.771 In the one you love 2157 01:53:53.654 --> 01:53:55.156 LESTER: Oh, Lord 2158 01:53:58.413 --> 01:54:02.630 I don't ever wanna see A tear fallin' from your eyes 2159 01:54:06.722 --> 01:54:10.521 Honey, I love ya and you know I need ya 2160 01:54:13.819 --> 01:54:18.202 I want you always here by my side 2161 01:54:18.286 --> 01:54:19.455 Oh, Lord 2162 01:54:22.169 --> 01:54:24.048 Say it again Oh, Lord 2163 01:54:24.214 --> 01:54:27.429 BROTHERS: Have a little faith 2164 01:54:27.597 --> 01:54:31.772 In the one you love 2165 01:54:32.230 --> 01:54:35.445 Have a little faith 2166 01:54:35.613 --> 01:54:38.493 In the one you love 2167 01:54:38.661 --> 01:54:40.205 LESTER: Say it again 2168 01:54:40.372 --> 01:54:43.587 BROTHERS: Have a little faith 2169 01:54:43.754 --> 01:54:46.425 In the one you love 2170 01:54:46.593 --> 01:54:48.137 LESTER: Say it again 2171 01:54:48.304 --> 01:54:50.977 ALL: Have a little faith 2172 01:54:51.561 --> 01:54:56.530 In the one you love 2173 01:55:01.540 --> 01:55:02.542 (MUSIC ENDS) 2174 01:55:02.625 --> 01:55:04.253 (CROWD CHEERING) 2175 01:55:08.721 --> 01:55:10.641 (CROWD MURMURING INDISTINCTLY) 2176 01:56:47.877 --> 01:56:49.881 (SHUSHING) 2177 01:56:51.927 --> 01:56:53.722 Y'all be cool for a minute. 2178 01:56:57.062 --> 01:56:58.649 Hey. 2179 01:56:58.815 --> 01:57:00.109 What are you doing? 2180 01:57:00.861 --> 01:57:04.368 (SHUSHES) Fellas, silence. 2181 01:57:05.746 --> 01:57:07.082 You done? 2182 01:57:09.336 --> 01:57:10.463 Hey, dig. 2183 01:57:12.342 --> 01:57:14.764 Stevie, I mean, the rain on my clothes is bad enough, 2184 01:57:14.931 --> 01:57:16.977 but you got your hands on my clothes, you dig it? 2185 01:57:17.060 --> 01:57:18.396 (CROWD EXCLAIMING) 2186 01:57:18.479 --> 01:57:20.149 Why you gotta cross me in front of these people? 2187 01:57:20.316 --> 01:57:21.695 Hey, man, take your hands off my clothes. 2188 01:57:21.778 --> 01:57:22.822 Aw. 2189 01:57:23.532 --> 01:57:25.159 MAN: Man, take your hands off 'em. 2190 01:57:25.326 --> 01:57:27.038 What you mean, your clothes? I bought 'em. 2191 01:57:27.122 --> 01:57:28.124 (CROWD EXCLAIMING) 2192 01:57:28.207 --> 01:57:29.376 MAN: You ain't bought 'em. 2193 01:57:31.046 --> 01:57:32.215 I'm goin' now.