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.