#04-01

Nem öltöztették fel. Ott ál félig pucéran, mezitláb. Lehet, hogy indult valahova, csak elfelejtette hova, úgyhogy álldogált. Ugyanaz a póló volt rajta, mint csütörtökön. Más semmi. Ha egy filmben lennék, üvöltöztem vona a nővérrel, hogy miért nem öltözteték fel és hol van a ruhája? De nem egy filmben vagyunk. Az ügyeletes nővér bedugta a fejét, ránézett anyámra és azt mondta: uramisten. Aztán nem láttuk többet. Anyámat betakargattam egy paplannal, mint egy nagy steppelt kabáttal.

Felköszöntöttem. Vittem gyerekpezsgőt. Ma mosolygott is.

Fel tud bosszantani az a fajta arrogancia, ami mögött csupán tájékozatlanság van. Én is szoktam így tévedni, de utána szégyellem magam és igyekszem elismerni, hogy nem tudtam valamit vagy hülye voltam. Az arrogancia ellenszenves és irritáló. Az, aki 50 évesen is rászorul, hogy az anyja folyamatosan kisegítse pénzzel, arra nehéz idők várnak, ha nem lesz öröksége. Remélem, nem hozzám jön majd.

A szeretet sokkal kevésbé érthető dolog, mint a szerelem. Mégse foglalkozik vele senki. Olyan természetesnek vesszük. Még sosem hallottam senkitől, hogy újongott volna, mert valaki szereti.

Autista orvosról szóló sorozatot nézek, úgyhogy azt hiszem egy rakás autista bejegyzésem lesz. Rémesen rá tudok hangolódni filmekre. Ez a színész vagy valóban autista vagy zseni vagy a rendező zseni, pedig próbálom kiszúrni, hogy mikor bukik le a főszereplő. A gonoszok viszont rettenetesen papírszagúak és gyakran úgy nevetnek, mint valami bábelőadáson. HA-HA-HA-HA! Rémes.

Elég jó béke van mostanában megint. Ha autista lennék, biztos ilyen vagy hasonló naplóbejegyzéseim lennének.

Már nincs Asperger, csak autizmus spektrum zavar van amiben benne vannak a magasan funkcionáló autisták is, akiket Aspergeresként határoztak meg egy ideig. Nem betegség, mentális zavar. A demencia is az.

Gilbert (Gil) Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His music, most notably on Pieces of a Man and Winter in America in the early 1970s, influenced and helped engender later African-American music genres such as hip hop and neo soul. In fact, Scott-Heron himself is considered by many to be the first rapper/MC ever, a recognition also shared by fellow American MC Coke La Rock.

Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012.

His recording work received much critical acclaim, especially one of his best-known compositions "The Revolution Will Not Be Televised". Gil Scott-Heron received a Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture that officially opened on Sept. 24, 2016 on the National Mall, and in an NMAAHC publication, Dream a World Anew. During the museum's opening ceremonies, the Sylvan Theater on the monument grounds was temporarily named the Gil Scott-Heron stage.

Early years

Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott-Heron, was an opera singer who performed with the New York Oratorio Society. Scott-Heron's father, Gil Heron, nicknamed "The Black Arrow", was a Jamaican football player in the 1950s who became the first black man to play for Celtic Football Club in Glasgow. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School after impressing the head of the English department with one of his writings and earning a full scholarship. As one of five black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him, "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.

After completing his secondary education, Scott-Heron enrolled at Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement. The Last Poets, a group associated with the Black Arts Movement performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?" Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.

Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at Federal City College in Washington, D.C. while maintaining his music career.

Recording career

Scott-Heron began his recording career in 1970 with the LP Small Talk at 125th and Lenox. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.

Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice, "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."

1974 saw another LP collaboration with Brian Jackson, the critically acclaimed opus Winter in America, with Bob Adams on drums and Danny Bowens on bass. The album contained Scott-Heron's most cohesive material and featured more of Jackson's creative input than his previous albums had. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. 1975 saw the release of the single "Johannesburg", a rallying cry to the issue of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.

A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1979. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.

In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song, "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.

Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs; Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.

Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line, "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh". The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. Message to the Messengers was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:

They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.

Later years

Prison terms and more performing

In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.

On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.

After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.

Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.

In April 2009 on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.

In 2010 Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.

I'm New Here

Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.

The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".

Scott-Heron described himself as a mere participant in an interview with The New Yorker:

This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.

The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.

In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.

Death

Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a European trip. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia. As of May 2015, the cause of Scott-Heron's death was not announced.

He is survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and who was a member of Lost Boyz.

Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.

After Scott-Heron's death Malik Al Nasir told his story to The Guardian's Simon Hattenstone of the kindness that Scott-Heron had showed Malik throughout his adult life since meeting the poet back stage at a gig in Liverpool in 1984. The BBC World Service covered the story on their Outlook program with Matthew Bannister, which took the story global. It was subsequently covered in many other mediums such as BBC Radio 4's Saturday Live, where jazz musician Al Jarreau paid tribute to Gil, and was mentioned the U.S. edition of Rolling Stone and The Huffington Post. Malik & the O.G's performed a tribute to Scott-Heron at the Liverpool International Music Festival in 2013 with jazz composer Orphy Robinson of The Jazz Warriors and Rod Youngs from Gil's band The Amnesia Express. Another tribute was performed at St. Georges Hall in Liverpool on August 27, 2015, called "The Revolution will be Live!", curated by Malik Al Nasir and Richard McGinnis for Yesternight Productions. The event featured Talib Kweli, Aswad, The Christians, Malik & the O.G's, Sophia Ben-Yousef and Cleveland Watkiss as well as DJ 2Kind and poet, actor, and radio DJ Craig Charles. The tribute was the opening event for 2015 Liverpool International Music Festival.

In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.

Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.

Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.

Scott-Heron's memoir, The Last Holiday, was released in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:

The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.

Scott-Heron's estate

At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley is not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate. According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron introduced me [Rackley] from the stage as his son." .

In 2011 Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but, As of March 2016, further information on the matter is not publicly available. However, Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016.

According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. During the time Scott-Heron's 1994 album Spirits was being produced, he was living in Brooklyn, New York, with Nia and her mother.

Influence

Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".

Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:

Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".

Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:

Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.

Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:

In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".

Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".

In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.

Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]". As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.

Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Abdul Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".

Filmography

Saturday Night Live, musical guest, December 13, 1975.

Black Wax (1982). Directed by Robert Mugge.

5 Sides of a Coin (2004). Directed by Paul Kell

The Revolution Will Not Be Televised (2005). Directed by Don Letts for BBC.

Word Up (2005). Directed by Malik Al Nasir for Fore-Word Press.

The Paris Concert (2007).

Tales of the Amnesia Express Live at the Town & Country.

Nem tudtam aludni (azért is írkálok itt éjjel kettőkor) Anyám születésnapja van ma. Ha érzek az fáj, ha nem érzek az fáj. Ez már nem is anyámról szól valójában, hanem minden életről. Pazarlásokról amiket végignézek és rájövök, hogy mind pazaroljuk csak az időt meg a lehetőségeket. Senki se csinálja jól, amit csinál, csak vannak “társadalmilag elfogadott” nyereségek az elbaszott életeken. Bármekkora faszságot követsz el, bármilyen fos kapcsolatban élsz, ha gyereked született azt mondod, legalább lett belőle egy gyerek. Ha nincs gyereked, mi indokolná meg az életed?

Még elalvás előtt néztem egy darabka filmet (most újabb sorozatba kezdtem bele, hálistennek jó hosszú, mert nagyon sok a munkám és a sorozatok segítenek. Franc se érti miért, de, ha munka közben sorozatokat háttértévézek, akkor kevesebbet kapcsolgatok el a munkámról máshova) Egy fekete doki az egyik mellékszereplő és egy fehér csaj. Szövődik köztük valami, nagyon is szövődik, de a férfi azt mondja ő családot szeretne és a nő fehér, ő pedig egy rendes a családja által is elfogadott családot szeretne, egy fekete nővel. Erős köztük a vonzalom, de a férfi ellenáll, mert van a fejében valami arról, hogy minek kéne történnie, hogy tökéletes legyen minden. És a nő, aki teljesen nyilvánvalóan szerelmes a csávóba, a lehetőségbe, a köztük feszülő vonzalomba, egy céges bulin direkt összeismerteti a faszit egy éppen megfelelő fekete nővel. És bumm, azok szépen egymásra is hangolódnak. A fekete pasi meg a fehér nő, akik amúgy együtt dolgoznak, onnantól nyomják egymásnak a barátok vagyunk dumát. A pasas annyira akar hinni benne, hogy tényleg, hogy egy alkalommal meghívja a lányt, hogy menjenek el hármasban vacsorázni. És akkor ott gyönyörűen, de tényleg, ilyen középszar sorozatokhoz mérten zseniálisen van megcsinálva a jelenet ahogy a csaj elmondja, hogy bocs, de fáradt és inkább otthon lazítana, és minden sértődés meg királynői drámázás nélkül is lejön, hogy úristenúristen, ugye ez a csávó nem lehet ennyire valósan hülye, hogy nem tudja, hogy mi történik és tényleg elhiszi, hogy ők barátok, valódi barátok, és valósan létezik ez az út, hogy ők majd hármasban jólérzik magukat. A férfi mindent szeretne. A tökéletes kapcsolatot és a tökéletes barátot is. A lány meg... nekem is sokat segített amikor beláttam, hogy akit szeretek az más valaki tulajdona. Ő is próbálkozik ezzel. De ez még csak az első évad nyolcadik epizódja.

Jut eszembe erről a tulajdonlásról (ezen Mucikák feletehetőleg jót röhögnek majd), az “inasba rak” kifejezés. Hosszú időn keresztül nem találtam az értelmét. Mert nem az “inas - szolga” vonalon járt az agyam, hanem az “ín – ínszalag, feszülés” vonalon. És, hát úgy is volt értelme, hogy az egyik ember a másikat olyan helyzetbe hozza, hogy az befeszül, pattanásig hajlik. Aztán kiderült, hogy ez simán a csicskáztatja kifejezés egy újabb változata. :D

Beszélgetek egy ismerőssel és kapaszkodik belém, hogy végre valaki másról is tud beszélni, mint vírusról, járványról. De ő akárhova nyúl, rádió, TV, akárkivel beszél, csak a politika meg a halál a téma.

Nincs tévém már... vagy 5 éve. Rádiót is csak úgy hallgatok, egy-egy műsort, amit a barátaim elküldenek, hogy hallgassam meg. Átnézem a híroldalakat naponta, de csak azt olvasom el ami felkelti az érdeklődésemet. A bosszantó dolgokból nekem elég a lead. Közben látom, hogy mások úgy nézik a halálozási adatokat, mint árvíznél a vízállást – emelkedik, emelkedik, vajon mikor éri el a házunkat? Ráadásul a politika és a járvány most kórosan összekapcsolódott. Minden kóros, akárhova nézek. A napokban kezdtem el úgy érezni, hogy eddig vártam, hogy ez a dolog valahogy helyreálljon, megjavuljon, de már nincs mire várni. Ez a járvány ilyen és kihozta a világból a legrosszabbat. Mostanra buták lettünk, agresszívek, depressziósak és borúlátóak, meg jövőkép nélküliek. Mondjuk, én beleuntam ebbe, szóval inkább csinálom a dolgaimat, mint eddig és hiszek benne, hogy nem csak a járvány őrőlheti fel az életem, hanem én is szép módszeresen átalakítom ezt az évet ugyanolyan produktívvá, mintha nem is lenne járvány meg semmi. Muszáj szülnöm bele pár "gyereket″, különben megeszi a fene.

Jimmy Cliff, OM (born James Chambers; 1 April 1948) is a Jamaican ska and reggae musician, multi-instrumentalist, singer and actor. He is the only living musician to hold the Order of Merit, the highest honour that can be granted by the Jamaican government for achievements in the arts and sciences.

Cliff is best known among mainstream audiences for songs such as "Wonderful World, Beautiful People", "Many Rivers to Cross", "You Can Get It If You Really Want", "The Harder They Come", "Reggae Night" and "Hakuna Matata", and his covers of Cat Stevens' "Wild World" and Johnny Nash's "I Can See Clearly Now" from the film Cool Runnings. He starred in the film The Harder They Come, which helped popularize reggae across the world, and Club Paradise. Cliff was one of five performers inducted into the Rock and Roll Hall of Fame in 2010.

Career

Early life, 1960s, and 1970s

Jimmy Cliff was born in Somerton District, St. James, Jamaica. He began writing songs while still at primary school in St. James, listening to a neighbour's sound system. In 1962 his father took him to Kingston to go to Kingston Technical school, where he ended up sharing his cousin's one rented room in East Kingston.

Cliff sought out many producers while still going to school, trying to get his songs recorded without success. He also entered talent contests. "One night I was walking past a record store and restaurant as they were closing, pushed myself in and convinced one of them, Leslie Kong, to go into the recording business, starting with me," he writes in his own website biography. After two singles that failed to make much impression, his career took off when "Hurricane Hattie" became a hit, while he was aged 14. It was produced by Kong, with whom Cliff remained until Kong's death from a heart attack in 1971.

Cliff's later local hit singles included "King of Kings", "Dearest Beverley", "Miss Jamaica", and "Pride and Passion". In 1964, Cliff was chosen as one of Jamaica's representatives at the world's fair; and in the same year Cliff was featured in a program called “This is Ska!” alongside Prince Buster, Toots and the Maytals, and Byron Lee and the Dragonaires. He soon signed to Island Records and moved to the United Kingdom. Island Records initially (and unsuccessfully) tried to sell Cliff to the rock audience, but his career took off in the late 1960s. His international debut album was Hard Road to Travel, released in 1967. It received excellent reviews and included "Waterfall" (composed by Nirvana's Alex Spyropoulos and Patrick Campbell-Lyons), which became a hit in Brazil and won the International Song Festival.

"Waterfall" was followed in 1969 by "Wonderful World, Beautiful People" and "Vietnam" in 1970, both popular throughout most of the world. Bob Dylan called "Vietnam" the best protest song he had ever heard. Also during this period, Cliff released a cover of Cat Stevens' "Wild World" as a single, but it was not included on his Wonderful World, Beautiful People album.

In 1972, Cliff starred as Ivanhoe "Ivan" Martin in the classic reggae film, The Harder They Come, directed by Perry Henzell. As the film tells Martin's story, he is a young man without funds. Arriving in Kingston from the country, he tries to make it in the recording business, but without success. Eventually, he turns to a life of crime. The soundtrack album of the film was a huge success that sold well across the world, bringing reggae to an international audience for the first time. It remains one of the most internationally significant films to have come out of Jamaica since independence. The film made its debut at London's Gaumont cinema in Notting Hill on 1 September 1972. In 1975, Cliff sang on the first season of Saturday Night Live, episode 12, hosted by Dick Cavett. After a series of albums, Cliff took a break and traveled to Africa (the Nigeria-based Jamaican writer Lindsay Barrett was instrumental in Cliff's first trip there), and subsequently converted to Islam, taking the new name: El Hadj Naïm Bachir.

1980s and 1990s

Cliff quickly returned to music, touring for several years before he recorded with Kool & the Gang. In 1984, Cliff appeared at the Pinkpop Festival in Landgraaf, Netherlands. During The River Tour, Bruce Springsteen and the E Street Band added Cliff's previously little-known song "Trapped" to their live set; it achieved great prominence when included on 1985's We Are the World benefit album. The follow-up, Cliff Hanger (1985), won a Grammy Award for 'Best Reggae Album', though it was his last major success in the United States until 1993. Also in 1985, Cliff contributed to the song "Sun City", a protest song written and composed by Steven Van Zandt and recorded by Artists United Against Apartheid to convey opposition to the South African policy of apartheid. Cliff then provided backing vocals on The Rolling Stones' 1986 album Dirty Work, and appeared in the comedy Club Paradise, co-starring with Robin Williams and Peter O'Toole, and contributed several songs to the soundtrack, including "Seven Day Weekend", which he sang with Elvis Costello. In 1988, his song "Shelter of Your Love" was featured in the hit film Cocktail.

Cliff appeared in the film Marked for Death in 1990, performing "John Crow" with the Jimmy Cliff Band. His recording of "You Can Get It If You Really Want" was used as a campaign anthem by the Sandinista National Liberation Front in the 1990 election in Nicaragua. In 1991, performed at the second Rock in Rio festival in Estádio do Maracanã in Rio de Janeiro, Brazil. He continued to sell well in Jamaica and, to a lesser extent, the UK, returning to the mainstream pop charts in the U.S. and elsewhere (#1 in France) with a version of Johnny Nash's "I Can See Clearly Now" on the Cool Runnings film soundtrack in 1993. In 1995, Cliff released the single "Hakuna Matata", a collaboration with Lebo M, a song from the soundtrack of the film The Lion King. He and Jack Logan were guest stars in the Cartoon Network talk show Space Ghost Coast to Coast.

2000 to present

In 2001, Cliff became an inaugural member of the Independent Music Awards' judging panel to support independent artists. In 2002, Cliff released the album Fantastic Plastic People in Europe, after first providing free downloads using p2p software. This album featured collaborations with Joe Strummer, Annie Lennox, and Sting as well as new songs that were very reminiscent of Cliff's original hits. In 2004, Cliff completely reworked the songs, dropping the traditional reggae in favour of an electronic sound, for inclusion in Black Magic. The album also included a recording of "Over the Border" with Joe Strummer. Cliff performed at the closing ceremony to the 2002 Commonwealth Games and in 2003, his song "You Can Get It If You Really Want" was included in the soundtrack to the film, Something's Gotta Give. He also appeared in July 2003 at the Paléo Festival in Nyon, Switzerland. The Jamaican government under P. J. Patterson honoured Cliff on 20 October 2003, by awarding him The Order of Merit, the nation's third-highest honour, in recognition of his contributions to the film and music of Jamaica. Cliff and Mervyn Morris are the only currently living figures from the arts to hold this distinction and he is the only living musician to do so.

In 2007, Cliff performed at the opening ceremony at cricket's World Cup. In the spring and summer of 2010, Cliff embarked on an extensive tour of the U.S. and Canada. In 2009, "You Can Get It If You Really Want" was adopted by the British Conservative Party during their annual conference. It is unclear whether Cliff endorsed the political party. In September 2009, he was nominated for induction into the Rock and Roll Hall of Fame, following a campaign on his behalf by the American Charles Earle. Cliff reacted to the news by saying, "This is good for Cliff, good for Jamaican music and good for my country." On 15 December 2009, he was officially announced as an inductee and was inducted on 15 March 2010 by Wyclef Jean.

Cliff appeared in the 2011 documentary “Reggae Got Soul: The Story of Toots and the Maytals” which was featured on BBC and described as “The untold story of one of the most influential artists ever to come out of Jamaica”.

In 2011, Cliff worked with producer Tim Armstrong, lead singer of American punk band Rancid, on the EP The Sacred Fire and the full-length album Rebirth. Rebirth was nominated for a Grammy Award for 'Best Reggae Album'. The album was listed at #12 on Rolling Stone's list of the top 50 albums of 2012, saying "There's ska, rock steady, roots reggae, a revelatory cover of The Clash's "Guns of Brixton" delivered in Cliff's trademark soulful tenor, grittier but still lovely more than 40 years after his debut." In December 2012, Cliff was named 'Artist of the Year' by digital newspaper the Caribbean Journal, citing his work on Rebirth.

Personal life

Cliff is not a member of the Rastafari movement, although he briefly was before converting to Islam from Christianity. He now describes himself as having a "universal outlook on life", and does not align himself with any particular movement or religion, saying that "now I believe in science". He has a daughter and a son, and resides in Jamaica.

Alberta Hunter (April 1, 1895 – October 17, 1984) was an internationally known African-American jazz singer and songwriter who had a successful career from the early 1920s to the late 1950s (she was a contemporary of Ethel Waters and Bessie Smith) and then stopped performing. After 20 years of working as a nurse, in 1977 Hunter successfully resumed her popular singing career until her death.

Early life

Hunter was born in Memphis, Tennessee, to Laura Peterson, who worked as a maid in a Memphis brothel, and Charles Hunter, a Pullman porter. Hunter said she never knew her father. She attended Grant Elementary School, off Auction Street, which she called Auction School, in Memphis. She attended school until around age 15.

Hunter had a difficult childhood. Her father left when she was a child, and to support the family her mother worked as a servant in a brothel in Memphis, although she married again in 1906. Hunter was not happy with her new family and left for Chicago, Illinois, around the age of 11, in the hopes of becoming a paid singer; she had heard that it paid 10 dollars an hour. Instead of finding a job as a singer she had to earn money by working at a boardinghouse that paid six dollars a week as well as room and board. Hunter's mother left Memphis and moved in with her soon afterwards.

Career

Early years: 1910s–1940s

Hunter began her singing career in a bordello and soon moved to clubs that appealed to men, black and white alike. By 1914 she was receiving lessons from a prominent jazz pianist, Tony Jackson, who helped her to expand her repertoire and compose her own songs.

She was still in her early teens when she settled in Chicago. Part of her early career was spent singing at Dago Frank's, a whorehouse. She then sang at Hugh Hoskin's saloon, eventually singing in many Chicago bars.

One of her first notable experiences as an artist was at the Panama Club, a white-owned club with a white-only clientele that had a chain residing in Chicago, New York and other large cities. Hunter's first act was in an upstairs room, far from the main event; thus, she began developing as an artist in front of a cabaret crowd. "The crowd wouldn't stay downstairs. They'd go upstairs to hear us sing the blues. That's where I would stand and make up verses and sing as I go along." Many claim her appeal was based on her gift for improvising lyrics to satisfy the audience she was in front of. Her big break was when she got booked at Dreamland Cafe, singing with King Oliver and his band.

She peeled potatoes by day and hounded club owners by night, determined to land a singing job. Her persistence paid off, and Hunter began a climb from some of the city's lowest dives to a headlining job at its most prestigious venue for black entertainers, the Dreamland ballroom. She had a five-year association with the Dreamland, beginning in 1917, and her salary rose to $35 a week.

She first toured Europe in 1917, performing in Paris and London. The Europeans treated her as an artist, showing her respect and even reverence, which made a great impression on her.

Her career as singer and songwriter flourished in the 1920s and 1930s, and she appeared in clubs and on stage in musicals in both New York and London. The songs she wrote include the critically acclaimed "Downhearted Blues" (1922).

She recorded several records with Perry Bradford from 1922 to 1927.

Hunter recorded prolifically during the 1920s, starting with sessions for Black Swan in 1921, Paramount in 1922–1924, Gennett in 1924, OKeh in 1925–1926, Victor in 1927 and Columbia in 1929. While still working for Paramount, she also recorded for Harmograph Records under the pseudonym May Alix.

Hunter wrote "Downhearted Blues" with Lovie Austin and recorded the track for Ink Williams at Paramount Records. Hunter received only $368 in royalties. Williams had secretly sold the recording rights to Columbia Records in a deal where all royalties were paid to Williams. The song became a big hit for Columbia, with Bessie Smith as the vocalist. This record would almost 1 million records. Hunter learned what Williams had done and stopped recording for him.

In 1928, Hunter played Queenie opposite Paul Robeson in the first London production of Show Boat at Drury Lane. She subsequently performed in nightclubs throughout Europe and appeared for the 1934 winter season with Jack Jackson's society orchestra at London's Dorchester Hotel. One of her recordings with Jackson is "Miss Otis Regrets".

While at the Dorchester, she made several HMV recordings with the orchestra and appeared in Radio Parade of 1935 (1934), the first British theatrical film to feature the short-lived Dufaycolor, but only Hunter's segment was in color. She spent the late 1930s fulfilling engagements on both sides of the Atlantic and the early 1940s performing at home.

Hunter eventually moved to New York City. She performed with Bricktop and recorded with Louis Armstrong and Sidney Bechet. She continued to perform on both sides of the Atlantic, and as the head of the U.S.O.'s first black show, until her mother's death.

In 1944, she took a U.S.O. troupe to Casablanca and continued entertaining troops in both theatres of war for the duration of World War II and into the early postwar period. In the 1950s, she led U.S.O. troupes in Korea, but her mother's death in 1957 led her to her seek a radical career change.

Retirement: late 1950s–1970s

Hunter said that when her mother died in 1957, because they had been partners and were so close, the appeal of performing ended for her. She reduced her age, "invented" a high school diploma, and enrolled in nursing school, embarking on a career in health care, working for 20 years at Roosevelt Island's Goldwater Memorial Hospital.

The hospital forced Hunter to retire because it believed she was 70 years old. Hunter—who was actually 82 years old—decided to return to singing. She had already made a brief return by performing on two albums in the early 1960s, but now she had a regular engagement at a Greenwich Village club, becoming an attraction there until her death in October 1984.

Comeback: 1970s–1980s

Hunter was still working at Goldwater Memorial Hospital in 1961 when she was persuaded to participate in two recording sessions. In 1971 she was videotaped for a segment of a Danish television program, and she taped an interview for the Smithsonian Institution. That same year record producer Chris Albertson asked her to break an 11-year absence from the recording studio. The result was her participation (four songs) on a Prestige Bluesville Records album, Songs We Taught Your Mother. The following month, Albertson recorded her again, this time for Riverside Records, reuniting her with Lil Armstrong and Lovie Austin, both of whom she had performed with in the 1920s. Hunter enjoyed these outings but had no plans to return to a career as a singer. She was prepared to devote the rest of her life to nursing, but the hospital retired her in 1977, when it believed she had reached retirement age (she was then 82).

In the summer of 1976, Hunter attended a party for her long-time friend Mabel Mercer, hosted by Bobby Short. Music public relations agent Charles Bourgeois asked Hunter to sing and connected her with the legendary owner of Cafe Society, Barney Josephson. Josephson offered Hunter a limited engagement at his Greenwich Village club, The Cookery. Her two-week appearance there was a huge success, turning into a six-year engagement and a revival of her career in music.

Impressed with the attention paid her by the press, John Hammond signed Hunter to Columbia Records. He had not previously shown interest in Hunter, but he had been a close associate of Barney Josephson decades earlier, when the latter ran the Café Society Uptown and Downtown clubs. Her Columbia albums, The Glory of Alberta Hunter, Amtrak Blues (on which she sang the jazz classic "The Darktown Strutters' Ball"), and Look For the Silver Lining, did not sell as well as expected, but sales were nevertheless healthy. There were also numerous appearances on television programs, including To Tell the Truth (in which panelist Kitty Carlisle had to recuse herself, the two having known each other in Hunter's heyday). She also had a walk-on role in Remember My Name, a 1978 film by the director Alan Rudolph, for which he commissioned her to write and to perform the soundtrack music.

As capacity audiences continued to fill The Cookery nightly, concert offers came from Brazil to Berlin, and there was an invitation for her to sing at the White House. At first, she turned it down, because, she explained, "they wanted me there on my day off," but the White House amended its schedule to suit the veteran artist. During that time, there was also a visit from former First Lady turned book editor Jackie Onassis, who wanted to sign her for an autobiography but was unhappy with the co-author assigned to the project. The book was eventually done for another publisher, with the help of writer Frank Taylor.

Hunter's comeback lasted six years. She toured in Europe and South America, made more television appearances, and enjoyed her renewed recording career as well as the fact that record catalogs now once again contained her old recordings, going back to her 1921 debut on the Black Swan label.

Personal life

In 1919, Hunter married Willard Saxby Townsend, a former soldier who later became a labor leader for baggage handlers via the International Brotherhood of Red Caps, was short-lived. They separated within months, as Hunter did not want to quit her career—and officially divorced in 1923.

Hunter was a lesbian, though she kept her sexuality relatively private. In August 1927, she sailed for France, accompanied by Lottie Tyler, the niece of well known comedian Bert Williams. Hunter and Tyler had met in Chicago a few years earlier. Their relationship lasted until Ms. Tyler's death, many years later.

Hunter is buried in the Ferncliff Cemetery and Mausoleum located in Hartsdale, Westchester County, New York (Elmwood section; plot 1411), the location of many celebrity burials.

Hunter's life was documented in Alberta Hunter: My Castle's Rockin' (1988 TV movie), a documentary written by Chris Albertson and narrated by pianist Billy Taylor, and in Cookin' at the Cookery, a biographical musical by Marion J. Caffey that has toured the United States in recent years with Ernestine Jackson as Hunter.

Hunter was inducted to the Blues Hall of Fame in 2011 and the Memphis Music Hall of Fame in 2015. Hunter's comeback album,Amtrak Blues, was honored by the Blues Hall of Fame in 2009.

Discography

Early work: 1921–46

Hunter, Alberta. Complete Recorded Works in Chronological Order. Volume 1: May 1921 to February 1923. Vienna, Austria: Document Records, 1996. DOCD-5422. OCLC 35186454.

Hunter, Alberta. Complete Recorded Works in Chronological Order. Volume 2: February 1923 to November 1924. Vienna, Austria: Document Records, 1996. DOCD-5423. OCLC 35186490.

Hunter, Alberta. Complete Recorded Works in Chronological Order. Volume 3: 6 November 1924 to 26 February 1927. Vienna, Austria: Document Records, 1996. DOCD-5424. OCLC 37591743.

Hunter, Alberta. Volume 5: The Alternate Takes. 1921–1925. Vienna, Austria: Document Records, 1997. DOCD-1006. OCLC 38880479.

Hunter, Alberta, and Jack Jackson. The Legendary Alberta Hunter. The London Sessions with Jack Jackson & His Orchestra.New York: DRG, 1981. Recorded at the Dorchester Hotel, September–November 1934. OCLC 178720357.

Featuring Fletcher Henderson, Eubie Blake, Jimmy Lytell, Phil Napoleon, Elmer Chambers, Don Redman, Frank Signorelli

Featuring Fletcher Henderson, Joe Smith, Fats Waller, Tommy Ladnier, Jimmy O'Bryant, Lovie Austin, Elkins-Payne Jubilee Quartette

Featuring Louis Armstrong, Sidney Bechet, Buster Bailey, Charlie Irvis, Perry Bradford, Clarence Williams, Mike Jackson

Featuring Ray's Dreamland Orchestra, Eubie Blake, Original Memphis Five, Fletcher Henderson, Paramount Boys, Lovie Austin

Collaborations: 1961

1961: Chicago: The Living Legends. Alberta Hunter with Lovie Austin's Blues Serenaders (Riverside), recorded September 1, 1961, in Chicago.

1961: Songs We Taught Your Mother: Alberta Hunter, Lucille Hegamin, Victoria Spivey (Bluesville/Original Blues Classics), recorded by Rudy Van Gelder on August 16, 1961, in Englewood Cliffs, New Jersey.

Comeback: 1978–83

1978: Remember My Name, the original soundtrack recording of the Robert Altman film Remember My Name, (Columbia), OCLC 894368622

1980: Amtrak Blues (Columbia), OCLC 191945612

1981: Downhearted Blues: Live at the Cookery, a concert from the documentary Alberta Hunter: My Castle's Rockin, recorded in December 1981 at The Cookery, New York (Varèse Sarabande), OCLC 74155365

1982: The Glory of Alberta Hunter (Columbia)

1983: Look for the Silver Lining (Columbia)

Filmography

Santee, Clark, Delia Gravel Santee, Willis Conover, Alberta Hunter, and Gary Allen. Alberta Hunter Jazz at the Smithsonian.United States: Shanachie Entertaintment, 2005. Live performance at the Smithsonian Institution's Baird Auditorium on November 29, 1981. ISBN 978-1-561-27270-9. OCLC 58996219.

Goldman, Stuart A., Chris Albertson, Billy Taylor, Alberta Hunter, Jack Churchill, Robert M. Cohen, and Mary Alfier. Alberta Hunter: My Castle's Rockin'. New York: View Video, 2001. 1988 performance documentary. ISBN 978-0-803-02331-4. OCLC 49503904.