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Nina was absolutely committed to changing the world around her. She has been a civil rights activist since she was little. In her first recital – at the age of 11 – she requested that her parents would be moved from the last rows of the audience to close to the stage, as she would not play without seeing them, which went against the racist customs of the time in which black people were allocated to the last seats only.

At 17 years old, Nina was not accepted into the Curtis Institute of Music – a classical music conservatory – and no one got it out of her head that she was rejected because she was a black woman. But it wasn't just racism that transformed Nina Simone's life. Married to a police officer, she was also beaten by her husband.

Nina Simone suffered prejudice for being black, family violence, and all of this can be heard, seen and felt on her piano. With an incredible talent for the instrument, the singer stands out for her voice and musical intelligence, but also for the power of her own or performed songs.

Activism has always been a mark of her personality and a constant in her lyrics.

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Nina Simone biographical timeline | American Masters | PBS

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Simone graduates from Allen High School for Girls in Asheville, North Carolina. She spends the summer at the Juilliard School as a student of Carl Friedberg, preparing for an audition at the Curtis Institute of Music in Philadelphia. Her application was later denied, which Simone believed was due to racial discrimination.

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A song that was used as a code within enslaved people, "Wade in the Water" is the example of music used as a form of resistance and it's enduring popularity speaks to its universal message of hope and liberation, transcending time and culture.

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"Bluesman" is a song by Brazilian rapper Baco Exu do Blues, released in 2018 as part of his album "Bluesman." It was released on August 17, 2018, as part of Baco Exu do Blues' album of the same name.

The song addresses themes of racial identity, self-discovery, and empowerment — the lyrics reflect on the struggles and triumphs of being black in Brazil, with references to historical figures and cultural icons.

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Here's the whole playlist on Youtube. It's public and collaborative, so you can add more songs that fit the theme! 

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Here's the whole playlist on Youtube. It's public and collaborative, so you can add more songs that fit the theme! 

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"Ain't Got No, I Got Life" is a powerful song and performance by Nina Simone. The song is known for its passionate and soulful delivery, with lyrics that addresses themes of identity, racism and self-valorization.

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"Bluesman" by Baco Exu do Blues is a powerful and introspective song that delves into themes of identity, race, and social issues in Brazil. The song serves as a personal reflection on Baco's experiences as a black artist navigating a predominantly white music industry. In "Bluesman," the lyrical-self sees themselves as someone who is the only person able to speak for themselves, as each one knows everything they go through. Above all, they represent the concept of the title Bluesman, as someone who doesn't fit into what is expected, an extraordinary person. Baco confronts stereotypes, racism, violence, exotification and the struggles of being marginalized while celebrating his heritage bringing up influential figures like Jesus Christ, Barack Obama, Black Panther and Basquiat. "Bluesman" resonated deeply with audiences, earning Baco Exu do Blues acclaim and solidifying his reputation as a an unique artist that isn't afraid to tackle difficult subjects through his music.

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Por: Brenda Vidal

Fotos: João Wainer/Reprodução

No final de 2015, as lista de "Melhores Discos do Ano" nacionais e internacionais eram praticamente unânimes em colocar o incrível To Pimp a Butterfly (2015), de Kendrick Lamar, na primeira posição. Exaustivamente celebrado e glorificado, foram necessário dois anos para que Kendrick lançasse o sucessor da obra-prima, o também exaltado (2017).

Guardadas suas devidas proporções e realidades, Baco Exu do Blues se veria no mesmo dilema. Que caminhos seguir depois de ser glorificado? Com o pé na porta e apenas 21 anos à época, o rapper baiano apresentava (2017), disco sucesso de crítica dentro e fora da cena do rap, recheado de faixas incríveis, entre elas a maior lovesong que ninguém sabia que precisava- "Te Amo Disgraça".

Mas Baco precisou de ainda menos tempo para desapegar-se da era Esú e se jogar no passo seguinte. Hoje, um ano e dois meses e alguns dias desde o disco de estreia, ele lança seu segundo e aguardado álbum: , um disco que, à primeira escuta, mostra a experimentação de novos caminhos que podem muito bem levá-lo para a mesma glória experimentada no último ano de carreira. Ouça abaixo:

Algumas horas depois de sua estreia, já deu pra sentir uma atmosfera mais melancólica, introspectiva. As também nove faixas de Bluesman (mesma quantidade presente no Esú) não são tão explosivas e rápidas como o disco anterior, mas estão presentes as mesmas linhas ricas em referências, acidez e dedo na ferida. O resgate e a reinvenção da negritude brasileira, presente nos dilemas contemporâneos da população negra mescladas à ancestralidade, as violências do sistema racista - o genocídio do povo negro, a exotificação, os danos à sanidade mental, a estética branquificada - continuam sendo pautas aprofundadas na arte de Baco.

O diálogo com o "panteão" formado por ídolos negros da arte e da música vêm forte: Baco convoca a genialidade de Basquiat, as guitarras hipnotizantes do blues, o primor de BB King, a loucura de Kanye West e o reinado de Jay-Z.

Se você já chega de olhos compridos e ouvidos ansiosos atrás da nova "Te Amo Disgraça", melhor voltar pra faixa original no disco Esú ou focar na trinca de faixas que ele soltou no final de agosto. Se antes as taças eram quebradas aos gritos de "a cidade é nossa", agora Baco espera que você repare no coração partido e ouça Exaltasamba na quebrada gritando "eu me apaixonei pela pessoa errada", como diz na belíssima e doída "Flamingo", faixa em parceria com a Tuyo. "Girassóis de Van Gogh", "BB King" e "Queima Minha Pele" figuram entre as canções que mais representam a fase atual e elucidam as rupturas com o trabalho anterior. "Preto e Prata" chega como um dos momentos mais explosivos do álbum.

Depois de fazer "a rima pra sua geração ver", Baco chega pra cravar seu nome no "panteão" da música brasileira. Entre versos em crise, amargos e em busca da autoafirmação, o rapper celebra sua raça, sua cultura e as inúmeras formas de reinvenção, resistência e arte criadas pela comunidade negra em diáspora pelas terras das Américas. Em "BB King", ele passa o recado que sintetiza o novo trabalho: "só eu posso fazer a minha arte, posso me descrever", ""não sou obrigado a ser o que esperam". Baco foi coroado, mas talvez o trono não tenha acomodado alguém que tá acostumado a ser divindade e entidade. Baco é bluesman.

E, como se não fosse bastante, ele soltou também um curta-metragem impressionante de 8 minutos com algumas faixas do disco. Assista:

Bluesman (2018)
01. Bluesman
02. Queima Minha Pele - ft. Tim Bernardes
03. Me Desculpa Jay-Z ft 1LUM3
04. Minotauro de Borges
05. Kanye West da Bahia ft. DKVPZ, Bibi Caetano
06. Flamingos - ft Tuyo
07. Girassóis de Van Gogh
08. Preto e Prata
09. BB King

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Do gênero à tristeza: Baco Exu do Blues apresenta a nova fase "Bluesman"

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No final de 2015, as lista de "Melhores Discos do Ano" nacionais e internacionais eram praticamente unânimes em colocar o incrível To Pimp a Butterfly (2015), de Kendrick Lamar, na primeira posição. Exaustivamente celebrado e glorificado, foram necessário dois anos para que Kendrick lançasse o sucessor da obra-prima, o também exaltado Damn(2017).

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"Wade in the Water" is a traditional African American spiritual song that has been performed and recorded by numerous artists over the years. Its origins the era of slavery in the United States, and it was sung as a code song among enslaved people seeking freedom via the Underground Railroad.

• The lyrics metaphorically reference the biblical story of the Israelites crossing the Red Sea to escape from Egypt.

Who are those children all dressed in White?
God's gonna trouble the water.
Must be the ones of the Israelites.
God's gonna trouble the water.

• The song's lyrics encourage listeners to "wade in the water" as a means of finding spiritual renewal. The water symbolizes not only physical bodies of water but also the metaphorical waters of baptism and liberation.

• The repetition of the phrase "God's gonna trouble the water" suggests divine intervention over the situation and the promise of deliverance from hardship.

The powerful imagery and evocative melody of the song continue to resonate with audiences, serving as a reminder of the strenght and hope found in black people.

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In this section, we present the rich and diverse contributions of black people to various music genres.

Join us as we go through the rhythms and melodies, celebrating the profound influence of Black people in music history!

1. Jazz

2. Blues

3. Gospel

4. R&B (Rhythm and Blues)

5. Soul

6. Funk

7. Rock and Roll

8. Reggae

9. Hip Hop

10. Rap

11. Afrobeat

12. Ska

13. Soca

14. Calypso

15. Jazz Fusion

These genres have all been significantly shaped and influenced by the musical contributions of Black artists and communities, playing a crucial role in shaping the global music landscape.

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The singer is without a home, without shoes, without money, but she has her hair, her skin, her story and she has herself. "Ain't Got No, I Got Life" shows us the strength of blackness in, after losing everything because of racism, still being able to trust yourself and admire yourself for being who you are.

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Nina Simone - Ain't Got No (I Got Life) - Suggestions - RuiCardology

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Nina Simone - Ain't got no love Then what have I got Why am I alive anyway? Yeah, hell What have I got Nobody can take away I got my hair

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Baco Exu do Blues is a Brazilian rapper and songwriter known for blending hip-hop with blues and other genres. He gained widespread attention with his album "Esú" in 2017, which won Best Urban Music Album at the Latin Grammy Awards.

Baco started his music career very early in life; born and raised in Salvador, Bahia - Brasil, in a working-class enrivoment, he found his identity in music starting by his artistic name: Baco Exú do Blues (Baco Exú of Blues) that unites both music genre and religious influence (african spirituality).

His music often addresses themes such as: social and racial issues, the idea of love in the perspective of black people and even his personal experiences, earning him praise for lyrics and unique style. Baco is a very important figure in Brazilian music scenery due to him pushing social boundaries and challenging conventions within the industry.

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[conteúdo exclusivo Continente Online]

Quantas vezes você já foi amado? Vinda de Diogo Álvaro Ferreira Moncorvo, o compositor baiano Baco Exu do Blues, essa pergunta intriga, já que a temática do amor é frequente em suas canções. Mas foi a partir dela e das reflexões que ela lhe provocava que o artista confeccionou , seu terceiro álbum de estúdio. A obra, que já irrompe como uma das candidatas a disco do ano na música brasileira, foi lançada no início deste mês, já chegando entre os 10 maiores lançamentos do Spotify no mundo inteiro.

Se em seu trabalho anterior, Blvesman, o artista cantava que "Tudo que quando era preto era do demônio e depois virou branco e foi aceito eu vou chamar de blues/ É isso, entenda, Jesus é blues", a retomada agora é de uma construção social da qual muito se fala e pouco se reflete. E que, para utilizar as palavras do próprio artista em entrevista ao podcast Podpah, foi embranquecida, assim como aconteceu como a imagem de Jesus numa sociedade eurocristã monoteísta.

Sim, o mais novo disco de Baco Exu do Blues é sobre amor. Mas por que ele teria escolhido dar essa centralidade ao tema? E que amor é esse cantado por Baco? A resposta talvez comece a se revelar desde o início da audição, já na primeira faixa, Sinto tanta raiva... "Eu sinto tanta raiva que amar parece errado", anuncia ele para, logo em seguida, nos jogar no meio do frenesi de um jazz bebop que poderia muito bem representar o turbilhão no qual se transformou sua vida desde que conquistou seu lugar de destaque na música brasileira, com o álbum Esú (2017), puxado pelo hit

"O amor é uma parada muito mais complicada do que parece. Quando a gente fala de amor, eu vejo uma perspectiva de que pessoas negras são empurradas o tempo todo para uma visão do amor branco. O amor europeu, o amor católico-cristão, que não foi feito pra gente, que joga a gente de lado o tempo todo. Por mais que eu tenha sido amado várias vezes, eu não soube receber esse amor, porque não me ensinaram a receber esse amor", comentou Baco na entrevista ao Podpah, também neste mês.

Em Dois amores, faixa que dá continuidade ao disco, é possível ouvir, num determinado momento, a voz de JF, da Banda O Metrô, conversando com Baco. "Tamo veloz, lembre de onde você veio/ A Bahia é tipo oceano, guetos infinitos/ Qualquer coisa, sabe o caminho de casa." Durante a pandemia, o artista teve que voltar para si mesmo, se resguardar e cuidar melhor da saúde de seu corpo, de sua mente e de seu espírito. Dentre várias dessas mudanças, Baco, que havia se mudado para São Paulo para poder gerir melhor a sua própria carreira e a carreira dos artistas do seu selo - o 999 -, voltou a morar em Salvador. Nesse processo, pôde reencontrar com seu passado. O resultado disso é uma obra na qual a persona Baco Exu do Blues se aproxima, mais do que nunca, de Diogo Moncorvo e de todas as vivências que construíram e ainda constroem a sua subjetividade enquanto homem negro.

O acalento da Bahia se faz presente no refrão - que traz um canto que integra a espiritualidade afro-brasileira -, na torcida organizada do seu time de coração, mas também na endorfina com perigo dos inúmeros amores que volta a experimentar em sua terra. Enquanto canta vantagem por ter amado tanto - "Problema com álcool/ já que em toda conquista eu brindo" -"dói, dói, dói, dói, dói" se transforma em "no, no, no, no", na voz de um artista que parece estar cansado de ser alvo de tantas expectativas em torno de quem ele deveria ser e da maneira como ele deveria amar. Voltar a Salvador é também reencontrar a dor. Do amor que "faz sofrer", do amor que "faz chorar". Mas o conselho de seus amigos é que ele respire e não esqueça: "A cidade é nossa".

Apaixonado pela , Baco entrega o melhor refrão do disco, uma melodia muito bonita, construída e cantada com cuidado e sensibilidade, que permanece na cabeça do ouvinte por dias após a audição e é mais um exemplo da excelência também instrumental que se revela nos arranjos musicais que ele escolhe, desde sempre, para criar sua marca sonora. "De noite vem/ De manhã vai/ E todos querem saber quem é." Quem é ela, quem é ela? Sabemos apenas que sua saia é linda, que ela tem sempre razão, que Baco deu a ela seu coração e o futuro na sua mão. Mas a ressaca vem e Baco agora já não sabe se quer atender às 20 ligações que ela fez para o seu celular. "Você não me quer/ Quer me mudar/ Não sou o melhor/ Mas amo meu jeito de ser."

E se em Mulheres grandes a raiva do artista parece ser direcionada para a mulher - o que, numa percepção inicial, poderia ser lida como machista -, Baco nos dá a deixa para entendermos o ponto principal de toda a sua criação em torno do amor. Nesse momento, desfaz a dificuldade masculina de falar dos próprios sentimentos de uma vez só, como num sincericídio: "Não, não, não, não/ Não acredito em você/ Não é pessoal/ Não acredito em mim/ Como acreditar em alguém?". Perguntar quantas vezes você já foi amado é falar também sobre a própria capacidade de amar.

***

Em Tudo sobre o amor: novas perspectivas, primeiro livro da sua trilogia do amor, a professora e teórica feminista bell hooks discute a contradição de vivermos numa sociedade que fala o tempo todo de amor através das mais diversas manifestações da cultura de massas sem, no entanto, refletir sobre o que seria esse amor - ou sem mesmo refletir sobre como as pessoas são ensinadas a amar e serem amadas. Em sua experiência pesquisando e discutindo o tema, ela chega à conclusão de que não só a maioria das obras canônicas sobre o amor são escritas através da perspectiva de homens brancos, mas também que há um grande desconforto na hora de trazer esse tema à tona. Essa dificuldade consistiria no fato de que, apesar de sermos bombardeados o tempo todo com discursos sobre o amor, uma discussão mais profunda sobre ele acabaria por trazer à tona o fato de que o que temos a dizer sobre o amor chama atenção mais para a falta desse amor do que para a sua presença. Que mesmo que o amor seja tratado como algo dado, muitos de nós não temos exatamente certeza do que estamos falando quando pensamos sobre o amor. E que, muitas vezes, a maneira como somos ensinados a amar está permeada por uma série de violências.

No mundo em que vivemos, tal qual ele está construído, como seria possível, então, amar? bell hooks nos provoca: "Quando entendemos o amor como a vontade de nutrir o nosso crescimento espiritual e o de outra pessoa, fica claro que não podemos dizer que amamos se somos nocivos ou abusivos". Mas, mesmo que essa afirmação possa servir como metáfora da maneira como deveríamos amar, também é, de acordo com a pensadora, impossível conceber amor sem justiça. E essa justiça não pode partir de outro lugar senão do reconhecimento de que, a depender da vivência de cada pessoa, as dificuldades de amar surgem relacionadas também às caixinhas nas quais todos somos colocados, de acordo com os padrões de beleza, classe, raça, gênero e nação.

Diogo Moncorvo é um homem negro que, aos sete anos de idade, nessa mesma Salvador, sentiu, pela primeira vez, olhares estranhos direcionados ao seu corpo, por ele ser quem ele era. Nutrir seu próprio crescimento espiritual, se permitir sentir as dores e as feridas que se inscrevem em sua subjetividade é a única maneira possível de se permitir amar e de aprender a reconhecer o amor das pessoas.

E o grande amor que Baco encontra na produção de seu disco não é direcionado a mais ninguém que a si mesmo. "Foram 25 anos pra eu me achar lindo/ Sempre tive o mesmo rosto/ A moda que mudou de gosto/ E agora querem que eu entenda/ Seu afeto repentino." Talvez a coisa mais bonita de QVVJFA? consista no fato de que, ao mergulhar em busca de sua Autoestima, o artista acaba por convergir com a mesma definição de amor enunciada por bell hooks. Porque, independente das experiências individuais de cada um, é impossível parar em meio ao Brasil de 2022 para ouvir um disco que fala do amor, de maneira tão profunda, sem se deixar afetar por algumas das mesmas reflexões.

Se em tempos de crise, devemos seguir com os artistas, poder viver na mesma época em que Baco Exu do Blues trabalha para nutrir seu próprio amadurecimento e, nesse processo, faz com que todo o seu público se afete junto a ele e procure refletir também sobre o amor e a dor, é, sem dúvida, um privilégio. No final, a pergunta que permanece é: quantas vezes já te amaram, baby?

ANTONIO LIRA é jornalista, músico, pesquisador e mestre em Comunicação pela UFPE.

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Baco Exu do Blues: sobre (se) amar - Revista Continente

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Em seu terceiro e badalado álbum de estúdio, QVVJFA?, músico baiano canta o tema sobre o qual muito se fala, mas pouco se pensa

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Welcome to the Musical Museum, a place where notes become stories and melodies resonate as testimonies of humanity!

Here, we explore the powerful relations between music and the fight against racism. As you step into our 'rooms', you will not only hear songs, but immerse yourself in narratives that echo the highs and lows of the racial journey. We highlight artists and compositions that transcend time and culture, confronting racism with courage, resilience, and art. From Nina Simone to Baco Exú do Blues, each note is a protest, each verse is a revolution, and each visit is a journey to a deeper understanding of the transformative power of music in the struggle for equality.

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The Jackson 5 (stylized as the Jackson 5ive), later known as the Jacksons, is an American pop band composed of members of the Jackson family. The group was founded in 1965 in Gary, Indiana, by brothers Jackie, Tito, and Jermaine, with younger brothers Marlon and Michael joining soon after.

The Jackson 5 performed in talent shows and clubs on the Chitlin' Circuit, then signed with Steeltown Records in 1967 and released two singles. In 1968, they left Steeltown Records and signed with Motown, where they were the first group to debut with four consecutive number one hits on the Billboard Hot 100 with the songs " I Want You Back", " ABC", " The Love You Save", and " I'll Be There". They also achieved 16 top-40 singles on the chart. The group left Motown for Epic Records in early 1976, with the exception of Jermaine, who was replaced by Randy. At Epic, they released four studio albums and one live album between 1976 and 1981, including the successful albums (1978) and (1980) and the singles " Enjoy Yourself", " Shake Your Body (Down to the Ground)", and " Can You Feel It".

The brothers also released solo albums, most successfully Michael. In 1983, Jermaine reunited with the band to perform on the Motown 25: Yesterday, Today, Forever TV special. They released the album the following year, followed by an extensive tour which also featured songs from Michael's solo albums. After the Victory tour, Michael and Marlon Jackson left the group. The remaining four released the poorly received 2300 Jackson Street album in 1989 before being dropped from their label. In 2001, the Jacksons reunited on Michael's 30th Anniversary Celebration TV special. The four eldest of the brothers embarked on their Unity Tour in 2012 following Michael's death, and they planned several major performances for 2017.

According to some sources, The Jackson 5 have sold more than 100 million records worldwide. In 1980, the brothers were honored with a star on the Hollywood Walk of Fame as the Jacksons. They were inducted to the Rock and Roll Hall of Fame in 1997. Two of the band's recordings ("ABC" and "I Want You Back") are among the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll and, alongside "I'll Be There", were also inducted into the Grammy Hall of Fame.

Early years

The five Jackson brothers' interest in music was bolstered by their father Joe Jackson. In 1964, Joe found Tito playing with his guitar after a string broke, and he was impressed enough to buy him his own guitar. Tito, Jermaine, and Jackie later formed their own group, with Michael (age 5) playing congas and childhood friends Reynaud Jones and Milford Hite playing keyboards and drums in 1965. Marlon joined on tambourine in August 1965, when Evelyn LaHaie suggested that the group name themselves the Jackson Five Singing Group.

In 1966, the group won their first talent show at Theodore Roosevelt High School in Gary. Jermaine performed the Temptations' " My Girl", and Michael performed Robert Parker's " Barefootin'". Johnny Jackson and Ronnie Rancifer eventually replaced Hite and Jones. During their early performing years, the Jackson 5 would perform at other talent showcases at several other Gary schools and halls and theaters in Gary and the Chicago area. In August 1967, the boys were eventually booked into venues such as Chicago's Regal Theater and Harlem's Apollo Theater, winning the talent competitions on both shows that year, winning the Apollo competition on August 13. Afterwards, it's claimed Gladys Knight sent a tape of the boys' demo to Motown Records, hoping to get them to sign, but their tape was rejected and sent back[citation needed ]. In July 1967, the group recorded an early version of a song that would later be their first single, " Big Boy", for One-derful Records, however, the group was also rejected by that label.

In November 1967, Joe Jackson signed the group into Steeltown Records, a label founded and owned by record producer Gordon Keith. With Keith at the helm, they recorded "Big Boy" again that same month, the song would later be released as a single in January 1968. By March, Keith had managed to sign the Jackson 5 into a distribution deal with Atlantic Records, where "Big Boy" and another single, "We Don't Have to Be Over 21 (To Fall in Love)", were distributed. "Big Boy" eventually moved 10,000 copies. By March, Keith booked the boys to perform for their first paying gig at the Apollo Theater where they opened for Etta James. That month, Keith had "Big Boy" distributed through Atlantic Records and was working out on a record contract for the boys on that label when he learned that Joe Jackson had tried to get in touch with Motown through his attorney Richard Arons.

During July 1968, the boys opened for Bobby Taylor & the Vancouvers, at the Regal Theater. After being blown away by Michael's performance, Taylor sent the boys to Detroit where he set up a recorded Motown audition, which took place at Motown's official headquarters on Detroit's Woodward Avenue on July 23, 1968. Gordy, who had initially rejected their tape, refusing to sign any more "kid acts" after Stevie Wonder, changed his mind once he viewed Taylor's tape. On July 26, Gordy returned to Detroit where he had Joe Jackson and the boys sign their first year-long Motown contract. However, recording on their first album was delayed due to a contract dispute with Keith. While negotiations were continuing to get the Jacksons out of Steeltown, the group performed at strip clubs such as Guys + Dolls to make extra income, as well as honky tonks.

Finally on March 11, 1969, a day before Marlon's 12th birthday, the Jackson Five signed an exclusive seven-year contract with the label. After initial recordings at Detroit's Hitsville U.S.A. failed to impress Gordy, he sent the Jacksons to Hollywood. In August, Motown's PR machine, led by Suzanne de Passe, started to pass off the group as having been discovered by Supremes lead singer Diana Ross. When the group opened for record industry insiders at the Los Angeles club, the Daisy, Michael was billed as an "eight-year-old sensation", though he was several days shy of his 11th birthday. Shortly after the Daisy performance, the Jackson Five performed a cover of " It's Your Thing" at the Miss Black America Pageant in New York. By September, Gordy had set up the new songwriting and producing team, The Corporation, to write exclusively for the Jackson Five. After recording " I Want You Back" that same month, the single was released in early October and the Jacksons promoted the song on such programs such as the Hollywood Palace and the Ed Sullivan Show. Their debut album, Diana Ross Presents the Jackson 5, was released in December 1969.

Jacksonmania

"I Want You Back" topped the Billboard Hot 100 in January 1970. The Jackson 5 released two more number-one singles led by the Corporation: " ABC" and " The Love You Save". The single " I'll Be There" was co-written and produced by Hal Davis and became the band's fourth number-one single, making them the first recording act to have their first four singles reach the top of the Hot 100, and all four were almost as popular in other countries as they were in the United States. The group released a succession of four albums in one year and replaced the Supremes as Motown's best-selling group. They continued their success with singles such as " Mama's Pearl", " Never Can Say Goodbye", and " Sugar Daddy", giving them a total of seven top-ten singles within a two-year period.

The Jackson Five became Motown's main marketing focus and the label capitalized on the group's youth appeal, licensing dozens of products, including the J5 heart logo on Johnny Jackson's drum set, the group's album covers, stickers, posters, and coloring books, as well as a board game and a Saturday morning cartoon produced by Rankin/Bass. The black publication began in 1971 and focused heavily on the Jackson 5, with members adorning covers between January 1972 and April 1974. In addition, the group appeared in several television specials including Diana Ross' 1971 special, . They starred on their first of two Motown-oriented television specials Goin' Back to Indiana in September; their second was The Jackson 5 Show which debuted in November of the following year. The group often joined Bob Hope on USO-benefited performances to support military troops during the Vietnam War.

In order to continue increasing sales, Motown launched Michael Jackson's solo career in 1971 with the single " Got to Be There", released in November. His 1972 song " Ben" became his first to top the charts. Jermaine was the second to release a solo project; his most successful hit of the period was a cover of the doo-wop song "Daddy's Home".

The Jackson 5's records began plummeting on the charts by 1972, despite Michael and Jermaine's solo successes. The Corporation had produced most of their hit singles, but they split up in 1973. The brothers focused on the emerging disco craze and recorded the song " Get It Together", followed by their hit " Dancing Machine", their first to crack the top ten since "Sugar Daddy" nearly three years before. Despite those successes, most of the Jackson 5's follow-ups were not as successful, and Joe Jackson grew tired of Motown's uneasiness to continue producing hits for the brothers by 1973. He began producing a nightclub act around his sons and daughters, starting in Las Vegas and expanding to other states.

By 1975, most of the Jacksons opted out of recording any more music for Motown, desiring creative control and royalties after learning that they were earning only 2.8% of royalties from Motown. The Jacksons announced their conclusion to depart from Motown at a press conference at the Rainbow Grill in Manhattan, New York City. Joe Jackson then began negotiating to have the group sign a lucrative contract with another company, settling for Epic Records, which had offered a royalty rate of 20% per record; he signed with the company in June 1975. Absent from the deal was Jermaine Jackson, who decided to stay with Motown following his marriage to Hazel Gordy, and Randy Jackson replaced him. Even though the group announced their departure from the label, they still remained under contract to Motown until March 1976. Motown sued them for breach of contract but allowed the group to record for Epic, as long as they changed their name because Motown owned the name Jackson 5. The brothers thus renamed themselves the Jacksons.

The Jacksons CBS/Epic Records

In November 1976, following the debut of the family's weekly variety series, the Jacksons released their self-titled CBS debut under the Philadelphia International subsidiary, produced by Gamble & Huff. Featuring " Enjoy Yourself" and " Show You the Way to Go", the album went gold but failed to generate the sales the brothers had enjoyed while at Motown. A follow-up, Goin' Places, fizzled. Renewing their contract with Epic, the Jacksons were allowed full creative control on their next recording, , released in December 1978. Featuring their best-selling Epic single to date, " Shake Your Body (Down to the Ground)", written by Michael and Randy, the album sold over a million copies. Its follow-up, 1980's , also sold a million copies, spawning hits such as " Lovely One" and " Can You Feel It". In 1981, they released their fifth album, a live album that eventually sold half a million copies. The live album was culled from recordings of performances on their Triumph Tour.

In between the releases of Destiny and Triumph, Michael released the best-selling solo effort, Off the Wall. Its success led to rumors of Michael's alleged split from his brothers. After Triumph, Michael worked on his second Epic solo release, which was released in November 1982 as , which later went on to become the best-selling album of all time, winning eight Grammy Awards including Album of the Year, plus producing two number one hit singles, "Billie Jean" and "Beat It", and three breakthrough MTV music videos, "Billie Jean", "Beat It", and the 14-minute zombie-themed music video "Thriller". In March 1983, with Jermaine, the Jacksons performed on Motown 25: Yesterday, Today, Forever, the same show where Michael debuted the moonwalk during a solo performance of " Billie Jean". Following the success of the reunion, all six brothers agreed to record a sixth album for Epic, later released as in 1984. Their biggest-selling album to date, it included their final top ten single, " State of Shock". The song was actually a duet between Michael and Mick Jagger and did not feature participation from any other Jackson besides Marlon and Jackie, who were credited as background vocalists. Most of the album was produced in this way, with each brother essentially recording solo songs. Another hit was the top 20 single " Torture", a duet between Michael and Jermaine, with Jackie singing several parts. In the same year, the brothers participated in filming a Pepsi commercial where Michael suffered burns to his scalp due to a pyrotechnic fault. In July 1984, the Jacksons launched their Victory Tour, which was overshadowed by Jackie's leg injury, ticket issues, friction between the brothers, and a shakeup in the promotion and marketing team, initially headed by Don King, who was later fired. Michael announced he was leaving the group after their final performance at Dodger Stadium that December to continue his solo career. The following January, Marlon Jackson also announced he was leaving the group to pursue a solo career.

In 1987, The Jacksons released the single "Time Out for the Burglar", which was included on the soundtrack of the Whoopi Goldberg comedy film . In 1989, the remaining quartet of Jackie, Tito, Jermaine and Randy released 2300 Jackson Street, which performed poorly on the charts by the band's standards. After a brief promotional tour, the group went into hiatus and never recorded another album together.

Later years

A sample of Michael and the Jacksons' "This Is It". The song was the first song for the Jacksons to chart on the Billboard Hot Adult Contemporary Tracks since 1970. (The song was originally recorded by Michael alone, and served as the title track for his posthumous concert film.)

Problems playing this file? See media help.

In September 2001, nearly 17 years after their last performance together, all six Jackson brothers reunited for two performances at Madison Square Garden for a 30th anniversary special commemorating Michael's solo career, which aired in November. In early 2009, the four elder brothers began filming a reality show to make their attempt on reuniting the band, later debuting in December 2009 as The Jacksons: A Family Dynasty. During the middle of the project, Michael had announced his concert comeback in London was scheduled on July 13, 2009. Michael died that same year on June 25, putting efforts on halt.

Later in 2009, following the death of brother Michael, the surviving Jacksons recorded background vocals for a previously unreleased song, " This Is It" (the theme for the movie of the same name), which had originally been a demo. The radio-only single was released in October of that same year. The song did not chart on the Billboard Hot 100, but charted at number nineteen on Billboards Hot Adult Contemporary Tracks. "This Is It" returned the Jacksons to the chart. The surviving members of the Jacksons were in talks of planning a reunion concert tour (which was to serve as a tribute to Michael) for 2010, and were in talks in working on their first new studio album in over 20 years. However, neither plan was put into action.

The Jacksons: Unity Tour

In September 2010, Jermaine Jackson held his own "tribute" concert to Michael in Las Vegas. In 2011, Jackie Jackson released a solo single to iTunes, while Jermaine released his first solo album in 21 years, I Wish U Love. Following the release of one solo album, Marlon quit the music business in 1989 and invested in real estate. Randy has not been active in the industry since he disbanded the group Randy & the Gypsys in 1991.

In August 2011, there appeared to be a discord between the brothers concerning a tribute concert dedicated to Michael. While Jackie, Tito and Marlon were present alongside mother Katherine and sister La Toya for a tribute concert in Cardiff at the Millennium Stadium for a press conference concerning the tour, a couple of days after the press conference, both Randy and Jermaine issued a statement denouncing the tribute tour as the date of it occurred around the time of Conrad Murray's manslaughter trial in relation to Michael's death. The show carried on with Jackie, Tito and Marlon performing without Jermaine. In April 2012, Jackie, Tito, Jermaine and Marlon announced that they would reunite for several United States concerts for their Unity Tour. Thirty-eight dates were announced, however, eleven shows in the U.S. were canceled. The tour started at Casino Rama in Orillia, Ontario, Canada on June 20, 2012. Thirty-two additional dates were eventually added, and the tour ended on July 27, 2013 in Atlantic City, United States.

In 1977, the Jackson 5 were among a small group of artists eligible to receive the newly minted Madison Square Garden Gold Ticket Award for selling over 100,000 tickets to their concerts there. They received the award from Madison Square Garden when they played there as The Jacksons in 1981. On September 3, 1980, the brothers were honored with a star on the Hollywood Walk of Fame as The Jacksons. As the Jackson 5, they were inducted into the Rock and Roll Hall of Fame in 1997 and the Vocal Group Hall of Fame in 1999. Two of the band's recordings ("ABC" and "I Want You Back") are among the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, while the latter track also included in the Grammy Hall of Fame. On September 8, 2008, the Jacksons were honored as BMI Icons at the annual BMI Urban Awards.

In 1992, Suzanne de Passe, Jermaine Jackson, and Jermaine's then common-law wife Margaret Maldonado, worked with Motown to produce The Jacksons: An American Dream, a five-hour television miniseries broadcast based on the history of the Jackson family in a two-part special on ABC.

Influenced by the Temptations, the Supremes, James Brown, The Teenagers and Sly & the Family Stone, the group eventually served as the inspiration for several generations of boy bands, including New Edition, Menudo, New Kids on the Block, NSYNC, the Jonas Brothers, Backstreet Boys, One Direction, and many more.

The rise of the Jackson 5 in the 1960s and 1970s coincided with the rise of a very similar musical family, the Osmonds. The Osmonds had risen to fame as regular performers on The Andy Williams Show; Jay Osmond would later note: "Michael had a unique sense of humor about him, and told us he was so tired of watching the Osmonds on The Andy Williams Show. He explained this was something their father had them do, and Michael joked he became really tired of it!" The song " One Bad Apple", written by George Jackson, who had the Jackson Five in mind when he wrote it, was originally presented to Motown Record's Chairman of the Board Berry Gordy for the group to record, but he turned it down. It was then presented to MGM Records for the Osmonds. "One Bad Apple", which the Osmonds recorded in a similar style to the songs of the Jackson 5 at the time, reached number one and began a string of several hits for the Osmonds. Both bands followed a similar career trajectory: a string of several hits as a group, which eventually led to a breakout star (Michael for the Jacksons, Donny for the Osmonds) becoming a solo artist, a little sister not originally part of the group also rising to fame ( Janet Jackson and Marie Osmond respectively), and eventual decline as a smaller group in the 1980s. The two groups' members eventually became friends, despite public perception of a rivalry between the two and allegations that the Osmonds, white Mormon brothers from Utah, were an imitation of the black Jackson 5.

Awards and nominations

Grammy Awards

The Jackson 5/Jacksons were nominated for a total of three Grammy Awards throughout their career.

Grammy Hall of Fame

Three of the Jackson 5's songs were inducted into the Grammy Hall of Fame.

NAACP Image Awards

The Jackson 5 has won four NAACP Image Awards throughout their career.

United States Congress

The United States Congress is the bicameral legislature of the federal government of the United States of America, consisting of two houses, the Senate and the House of Representatives. They awarded The Jackson 5 with a "Special Commendation" for positive role models in 1972.

Congressional Black Caucus

Organization of African Unity

Broadcast Music, Incorporated (BMI) is one of two major United States performing rights organization, along with ASCAP. It collects license fees on behalf of songwriters, composers, and music publishers and distributes them as royalties to members whose works have been performed.

The Jacksons were honored with the BMI Icons award in 2008 and two of their songs, "Never Can Say Goodbye", and "Dancing Machine", were awarded to songwriters Clifton Davis in 1972 and Hal Davis, Dean Parks and Don Fletcher in 1975 respectively at the BMI Pop Awards; those awards weren't received by the Jackson 5.

BMI Urban Awards

Atlanta International Film Festival

Hollywood Walk of Fame

The Hollywood Walk of Fame is a sidewalk along Hollywood Boulevard and Vine Street in Hollywood, California, United States, that serves as an entertainment hall of fame. It is embedded with more than 2,000 five-pointed stars featuring the names of celebrities honored by the Hollywood Chamber of Commerce for their contributions to the entertainment industry.

The Jacksons received their star in 1980.

Rock and Roll Hall of Fame

The Rock and Roll Hall of Fame is a museum located on the shores of Lake Erie in downtown Cleveland, Ohio, United States, dedicated to recording the history of some of the best-known and most influential artists, producers, and other people who have in some major way influenced the music industry.

All of the original members of the Jackson 5 was inducted to the Rock and Roll Hall of Fame in 1997. Only Randy Jackson was not inducted alongside his brothers. They were subsequently inducted by Diana Ross and Berry Gordy.

Vocal Group Hall of Fame

The Vocal Group Hall of Fame (VGHF) was organized by Tony Butala, also the founder (and now only surviving original member) of the Lettermen, to honor outstanding vocal groups throughout the world. Headquartered in Sharon, Pennsylvania, it includes a theater and a museum.

The Jackson 5 were inducted in 1999.

Band members

Current members

Jermaine Jackson - lead vocals, bass guitar (1965-1975, 1983-1989, 2001, 2012-present)

Jackie Jackson - vocals, tambourine, percussion (1965-1989, 2001, 2012-present)

Tito Jackson - vocals, lead guitar, synthesizer (1965-1989, 2001, 2012-present)

Marlon Jackson - vocals, conga, tambourine, percussion (1965-1985, 2001, 2012-present)

Former members

Michael Jackson - lead vocals, conga (1965-1984, 2001; died 2009)

Randy Jackson - piano, percussion, keyboards, conga, vocals (1976-1989, 2001)

Discography

References

Brooks, Darren (2002). Michael Jackson: An Exceptional Journey. Chrome Dreams. ISBN 1-84240-178-5.

Grant, Adrian (2009). Michael Jackson: The Visual Documentary. Omnibus Press. ISBN 978-1-84938-261-8.

George, Nelson (2004). Michael Jackson: The Ultimate Collection booklet. Sony BMG.

Bierbaum, Tom (November 18, 1992). [1]{{}}. Variety.

Cadman, Chris and Craig Halstead. Michael Jackson: the Early Years. Authors Online. ISBN 0-7552-0064-0

Green, Dave (producer/director). (January 29, 2005). VH1 News Presents: Michael Jackson's Secret Childhood [television broadcast]. New York, NY: MTV Networks.

Manning, Steve. The Jacksons. Indianapolis. Bobbs-Merrill. 1976.

Posner, Gerald (2002). Motown: Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6.

Ward, Ed, Geoffrey Stokes and Ken Tucker (1986). Rock of Ages: The Rolling Stone History of Rock and Roll. Rolling Stone Press. ISBN 0-671-54438-1.

Taraborrelli, J. Randy (2004). The Magic and the Madness. Terra Alta, WV: Headline. ISBN 0-330-42005-4.

Neely, Tim (2000). Goldmine Standard Catalog of American Records 1950-1975 2nd Ed. Iola, WI: Krause. ISBN 0-87341-934-0.

External links

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The Jackson 5 (stylized as the Jackson 5ive), later known as the Jacksons, is an American pop band composed of members of the Jackson family. The group was founded in 1965 in Gary, Indiana, by brothers Jackie, Tito, and Jermaine, with younger brothers Marlon and Michael joining soon after.