Nicaraguan Contra militia, 1987

Guerrilla warfare is a form of irregular warfare and refers to conflicts in which a small group of combatants including, but not limited to, armed civilians (or "irregulars") use military tactics, such as ambushes, sabotage, raids, the element of surprise, and extraordinary mobility to harass a larger and less-mobile traditional army, or strike a vulnerable target, and withdraw almost immediately.

Etymology[link]

The term means "little war" in Spanish, and the word, guerrilla, has been used to describe the concept since the 18th century, and perhaps earlier. A person who is a member of a guerrilla is a guerrillero.

The term 'guerrilla' was used within the English language as early as 1809. The word was used to describe the fighters, and their tactics (e.g."the town was taken by the guerrillas"). However, in most languages guerrilla still denotes the specific style of warfare. The use of the diminutive evokes the differences in number, scale, and scope between the guerrilla army and the formal, professional army of the state.

Strategy, tactics and organization[link]

The Spanish resistance to the French invasion, June 1808

The strategy and tactics of guerrilla warfare tend to focus around the use of a small, mobile force competing against a larger, more unwieldy one.^[1] The guerrilla focuses on organizing in small units, depending on the support of the local population, as well as taking advantage of terrain more accommodating of small units.

Tactically, the guerrilla army would avoid any confrontation with large units of enemy troops, but seek and eliminate small groups of soldiers to minimize losses and exhaust the opposing force. Not limiting their targets to personnel, enemy resources are also preferred targets. All of that is to weaken the enemy's strength, to cause the enemy eventually to be unable to prosecute the war any longer, and to force the enemy to withdraw.

It is often misunderstood that guerrilla warfare must involve disguising as civilians to cause enemy troops to fail in telling friend from foe. However, this is a not a primary feature of a guerrilla war. This type of war can be practiced anywhere there are places for combatants to cover themselves and where such advantage cannot be made use of by a larger and more conventional force.

Communist leaders like Mao Zedong and North Vietnamese Ho Chi Minh both implemented guerrilla warfare giving it a theoretical frame which served as a model for similar strategies elsewhere, such as the Cuban "foco" theory and the anti-Soviet Mujahadeen in Afghanistan.^[2]

Mao Zedong summarized basic guerrilla tactics at the beginning of the Chinese "Second Revolutionary Civil War" as: "The enemy advances, we retreat; the enemy camps, we harass; the enemy tires, we attack; the enemy retreats, we pursue."^[3]

While the tactics of modern guerrilla warfare originate in the 20th century, irregular warfare, using elements later characteristic of modern guerrilla warfare, has existed throughout the battles of many ancient civilizations but in a smaller scale. This recent growth was inspired in part by theoretical works on guerrilla warfare, starting with the Manual de Guerra de Guerrillas by Matías Ramón Mella written in the 19th century and, more recently, Mao Zedong's On Guerrilla Warfare, Che Guevara's Guerrilla Warfare and Lenin's text of the same name, all written after the successful revolutions carried by them in China, Cuba and Russia respectively. Those texts characterized the tactic of guerrilla warfare as, according to Che Guevara's text, being "used by the side which is supported by a majority but which possesses a much smaller number of arms for use in defense against oppression".

History[link]

The Third of May 1808 by Francisco Goya, showing Spanish resisters being executed by Napoleon's troops.

Boer guerrillas during the Second Boer War in South Africa.

Guerrilla warfare can be traced back to Sun Tzu, in his The Art of War (6th century BCE).^[2] Some authors argue that his example directly inspired the development of modern guerrilla warfare.^[2][4]

An early example during the American Revolution was when British General John Burgoyne referred to the American Patriots using this type of warfare during the Saratoga campaign. He noted that, in proceeding through dense woodland:

The enemy is infinitely inferior to the King’s Troop in open space, and hardy combat, is well fitted by disposition and practice, for the stratagems of enterprises of Little War...upon the same principle must be a constant rule, in or near woods to place advanced sentries, where they may have a tree or some other defense to prevent their being taken off by a single marksman.

So conscious of hidden marksmen was Burgoyne that he asked his men, ‘When the Lieutenant General visits an outpost, the men are not to stand to their Arms or pay him any compliment,‘ clearly aware he would be singled out.^[5]

Nonetheless, the Peninsular War, nicknamed the Spanish Ulcer and regarded by some historians, including Karl Marx,^[6] as one of the first national wars,^[7] is also significant for the emergence of large-scale guerrilla warfare. It is from this conflict that the English language borrowed the word.^[8] This war saw British and Portuguese forces using Portugal as a secure position to launch campaigns against the French army, while Spanish guerrilleros bled the occupiers. Gates notes that much of the French army "was rendered unavailable for operations against Wellington because innumerable Spanish contingents kept materialising all over the country. In 1810, for example, when Massena invaded Portugal, the Imperial forces in the Peninsula totaled a massive 325,000 men, but only about one quarter of these could be spared for the offensive—the rest were required to contain the Spanish insurgents and regulars. This was the greatest single contribution that the Spaniards were to make and, without it, Wellington could not have maintained himself on the continent for long—let alone emerge victorious from the conflict".^[9] Combined, the regular and irregular allied forces prevented Napoleon's Marshals from subduing the rebellious Spanish provinces.^[10]

Marx and Engels wrote about other examples of guerrilla warfare during the American Civil War, by Tyrolians and Prussians against Napoleon, by Poland and the Caucasus against Imperial Russia, Pegu (Burma) against the British Empire, but it has been said that "when Lenin wrote his classic paper, Guerrilla Warfare,^[11] in 1906, he did not quote Marx and Engels because they had not written in depth on the topic... Lenin begins from the premise that guerrilla warfare must be linked to struggle of the masses of the working class, or else it is against the interests of revolution: 'the acts of individuals isolated from the masses, which demoralise the workers, repel wide strata of the population, disorganize the movement and injure the revolution'".^[12] Lenin also argued about the inevitability of guerrilla warfare in some conflicts by saying that "guerrilla warfare is an inevitable form of struggle at a time when the mass movement has actually reached the point of an uprising and when fairly large intervals occur between the 'big engagements' in the civil war." It must be noted that Marx and Engels interchanged numerous letters on war and military science and Engels wrote about several military topics.

Counter-guerrilla warfare[link]

Principles[link]

The guerrilla can be difficult to beat, but certain principles of counter-insurgency warfare are well known since the 1950s and 1960s and have been successfully applied.

Classic guidelines[link]

Sixteen blindfolded Partisan youth await execution by German forces in Serbia, 20 August 1941

A Viet Cong base camp being burned, My Tho, South Vietnam, 1968

The widely distributed and influential work of Sir Robert Thompson, counter-insurgency expert of the Malayan Emergency, offers several such guidelines. Thompson's underlying assumption is that of a country minimally committed to the rule of law and better governance.

Some governments, however, give such considerations short shrift, and their counter-insurgency operations have involved mass murder, genocide, starvation and the massive spread of terror, torture and execution. The totalitarian regimes of Adolf Hitler are classic examples, as are more modern conflicts in places like Afghanistan.

Timothy Snyder wrote, "In the guise of anti-partisan actions, the Germans killed perhaps three quarters of a million people, about 350,000 in Belarus alone, and lower but comparable numbers in Poland and Yugoslavia. The Germans killed more than a hundred thousand Poles when suppressing the Warsaw Uprising of 1944."^[13]

In the Vietnam War, Americans countered the Soviet–backed Viet Cong with a policy of wastage, carrying out widespread destruction of villages, crops, and forests (see Operation Ranch Hand).^[14] In the Soviet war in Afghanistan, the Soviets countered the U.S.–backed Mujahideen with a policy of wastage,^{[citation needed]} driving over one third of the Afghan population into exile (over 5 million people), and carrying out widespread destruction of villages, granaries, crops, herds and irrigation systems, including the deadly and widespread mining of fields and pastures.

Many modern countries employ manhunting doctrine to seek out and eliminate individual guerrillas.^{[citation needed]} Elements of Thompson's moderate approach are adapted here:^[15]

1. The people are the key base to be secured and defended rather than territory won or enemy bodies counted. Contrary to the focus of conventional warfare, territory gained, or casualty counts are not of overriding importance in counter-guerrilla warfare. The support of the population is the key variable. Since many insurgents rely on the population for recruits, food, shelter, financing, and other materials, the counter-insurgent force must focus its efforts on providing physical and economic security for that population and defending it against insurgent attacks and propaganda.
2. There must be a clear political counter-vision that can overshadow, match or neutralize the guerrilla vision. This can range from granting political autonomy, to economic development measures in the affected region. The vision must be an integrated approach, involving political, social and economic and media influence measures. A nationalist narrative for example, might be used in one situation, an ethnic autonomy approach in another. An aggressive media campaign must also be mounted in support of the competing vision or the counter-insurgent regime will appear weak or incompetent.
3. Practical action must be taken at the lower levels to match the competitive political vision. It may be tempting for the counter-insurgent side to simply declare guerrillas "terrorists" and pursue a harsh liquidation strategy. Brute force however, may not be successful in the long run. Action does not mean capitulation, but sincere steps such as removing corrupt or arbitrary officials, cleaning up fraud, building more infrastructure, collecting taxes honestly, or addressing other legitimate grievances can do much to undermine the guerrillas' appeal.
4. Economy of force. The counter-insurgent regime must not overreact to guerrilla provocations, since this may indeed be what they seek to create a crisis in civilian morale. Indiscriminate use of firepower may only serve to alienate the key focus of counterinsurgency- the base of the people. Police level actions should guide the effort and take place in a clear framework of legality, even if under a State of Emergency. Civil liberties and other customs of peacetime may have to be suspended, but again, the counter-insurgent regime must exercise restraint, and cleave to orderly procedures. In the counter-insurgency context, "boots on the ground" are even more important than technological prowess and massive firepower, although anti-guerrilla forces should take full advantage of modern air, artillery and electronic warfare assets.^[16]
5. Big unit action may sometimes be necessary. If police action is not sufficient to stop the guerrilla fighters, military sweeps may be necessary. Such "big battalion" operations may be needed to break up significant guerrilla concentrations and split them into small groups where combined civic-police action can control them.
   

   

   Soviet partisans hanged by German forces in January 1943
6. Aggressive mobility. Mobility and aggressive small unit action is extremely important for the counter-insurgent regime. Heavy formations must be lightened to aggressively locate, pursue and fix insurgent units. Huddling in static strongpoints simply concedes the field to the insurgents. They must be kept on the run constantly with aggressive patrols, raids, ambushes, sweeps, cordons, roadblocks, prisoner snatches, etc.
7. Ground level embedding and integration. In tandem with mobility is the embedding of hardcore counter-insurgent units or troops with local security forces and civilian elements. The US Marines in Vietnam also saw some success with this method, under its CAP (Combined Action Program) where Marines were teamed as both trainers and "stiffeners" of local elements on the ground. US Special Forces in Vietnam like the Green Berets, also caused significant local problems for their opponents by their leadership and integration with mobile tribal and irregular forces.^[17] The CIA's Special Activities Division created successful guerrilla forces from the Hmong tribe during the war in Vietnam in the 1960s,^[18] from the Northern Alliance against the Taliban during the war in Afghanistan in 2001,^[19] and from the Kurdish Peshmerga against Ansar al-Islam and the forces of Saddam Hussein during the war in Iraq in 2003.^[20][21] In Iraq, the 2007 US "surge" strategy saw the embedding of regular and special forces troops among Iraqi army units. These hardcore groups were also incorporated into local neighborhood outposts in a bid to facilitate intelligence gathering, and to strengthen ground level support among the masses.^[16]
8. Cultural sensitivity. Counter-insurgent forces require familiarity with the local culture, mores and language or they will experience numerous difficulties. Americans experienced this in Vietnam and during the US invasion of Iraqi and occupation, where shortages of Arabic speaking interpreters and translators hindered both civil and military operations.^[22]
9. Systematic intelligence effort. Every effort must be made to gather and organize useful intelligence. A systematic process must be set up to do so, from casual questioning of civilians to structured interrogations of prisoners. Creative measures must also be used, including the use of double agents, or even bogus "liberation" or sympathizer groups that help reveal insurgent personnel or operations.
10. Methodical clear and hold. An "ink spot" clear and hold strategy must be used by the counter-insurgent regime, dividing the conflict area into sectors, and assigning priorities between them. Control must expand outward like an ink spot on paper, systematically neutralizing and eliminating the insurgents in one sector of the grid, before proceeding to the next. It may be necessary to pursue holding or defensive actions elsewhere, while priority areas are cleared and held.
11. Careful deployment of mass popular forces and special units. Mass forces include village self-defense groups and citizen militias organized for community defense and can be useful in providing civic mobilization and local security. Specialist units can be used profitably, including commando squads, long range reconnaissance and "hunter-killer" patrols, defectors who can track or persuade their former colleagues like the Kit Carson units in Vietnam, and paramilitary style groups.
12. The limits of foreign assistance must be clearly defined and carefully used. Such aid should be limited either by time, or as to material and technical, and personnel support, or both. While outside aid or even troops can be helpful, lack of clear limits, in terms of either a realistic plan for victory or exit strategy, may find the foreign helper "taking over" the local war, and being sucked into a lengthy commitment, thus providing the guerrillas with valuable propaganda opportunities as the stream of dead foreigners mounts. Such a scenario occurred with the US in Vietnam, with the American effort creating dependence in South Vietnam, and war weariness and protests back home. Heavy-handed foreign interference may also fail to operate effectively within the local cultural context, setting up conditions for failure.
    

    

    A Tuareg rebel fighter in northern Niger, 2008
13. Time. A key factor in guerrilla strategy is a drawn-out, protracted conflict that wears down the will of the opposing counter-insurgent forces. Democracies are especially vulnerable to the factor of time. The counter-insurgent force must allow enough time to get the job done. Impatient demands for victory centered around short-term electoral cycles play into the hands of the guerrillas, though it is equally important to recognize when a cause is lost and the guerrillas have won.

Variants[link]

Some writers on counter-insurgency warfare emphasize the more turbulent nature of today's guerrilla warfare environment, where the clear political goals, parties and structures of such places as Vietnam, Malaysia, or El Salvador are not as prevalent. These writers point to numerous guerrilla conflicts that center around religious, ethnic or even criminal enterprise themes, and that do not lend themselves to the classic "national liberation" template.

The wide availability of the Internet has also cause changes in the tempo and mode of guerrilla operations in such areas as coordination of strikes, leveraging of financing, recruitment, and media manipulation. While the classic guidelines still apply, today's anti-guerrilla forces need to accept a more disruptive, disorderly and ambiguous mode of operation.

Insurgents may not be seeking to overthrow the state, may have no coherent strategy or may pursue a faith-based approach difficult to counter with traditional methods. There may be numerous competing insurgencies in one theater, meaning that the counterinsurgent must control the overall environment rather than defeat a specific enemy. The actions of individuals and the propaganda effect of a subjective “single narrative” may far outweigh practical progress, rendering counterinsurgency even more non-linear and unpredictable than before. The counterinsurgent, not the insurgent, may initiate the conflict and represent the forces of revolutionary change. The economic relationship between insurgent and population may be diametrically opposed to classical theory. And insurgent tactics, based on exploiting the propaganda effects of urban bombing, may invalidate some classical tactics and render others, like patrolling, counterproductive under some circumstances. Thus, field evidence suggests, classical theory is necessary but not sufficient for success against contemporary insurgencies...^[23]

Foco theory[link]

Why does the guerrilla fighter fight? We must come to the inevitable conclusion that the guerrilla fighter is a social reformer, that he takes up arms responding to the angry protest of the people against their oppressors, and that he fights in order to change the social system that keeps all his unarmed brothers in ignominy and misery.

— Che Guevara ^[24]

In the 1960s the Marxist revolutionary Che Guevara developed the foco (Spanish: foquismo) theory of revolution in his book Guerrilla Warfare, based on his experiences during the 1959 Cuban Revolution. This theory was later formalized as "focalism" by Régis Debray. Its central principle is that vanguardism by cadres of small, fast-moving paramilitary groups can provide a focus for popular discontent against a sitting regime, and thereby lead a general insurrection. Although the original approach was to mobilize and launch attacks from rural areas, many foco ideas were adapted into urban guerrilla warfare movements.

Twentieth and twenty-first century guerrilla conflicts[link]

[[File:Kovpak partisanki.jpg|right|thumb|Female Soviet partisans operating under [[Sydir Kovpak] in Nazi-occupied Ukraine.]]

A Kurdish PKK guerrilla in Iraqi Kurdistan as part of the Kurdish–Turkish conflict.

The tactics of guerrilla warfare were used successfully in the 20th century by—among others— the Soviet partisans and the Polish Home Army in World War II,^[13] Mao Zedong and the People's Liberation Army in the Second Sino-Japanese War and Chinese Civil War. Fidel Castro, Che Guevara and the 26th of July Movement in the Cuban Revolution. Ho Chi Minh, Vo Nguyen Giap, Viet Cong and select members of the Green Berets in the Vietnam War (and the First Indochina War before that). The Liberation Tigers of Tamil Eelam in the Sri Lankan Civil War, the Afghan Mujahideen in the Soviet war in Afghanistan, George Grivas and Nikos Sampson's Greek guerrilla group EOKA in Cyprus, Aris Velouchiotis and Stefanos Sarafis and the EAM against the Axis occupation of Greece during World War II, Paul von Lettow-Vorbeck and the German Schutztruppe in World War I, Josip Broz Tito and the Yugoslav Partisans in World War II, and the antifrancoist guerrilla in Spain during the Franco dictatorship,^[25] the Kosovo Liberation Army in the Kosovo War, and the Irish Republican Army led by Michael Collins during the Irish War of Independence.^[26] Most factions of the Taliban, Iraqi insurgency, Colombia's FARC, and the Communist Party of India (Maoist) are said to be engaged in some form of guerrilla warfare—as was, until recently, the Communist Party of Nepal (Maoist). In India, Marathas under leadership of Chhatrapati Shivaji Maharaj used it to overthrow of the Mughals. It was also effectively used by Tatya Tope and Rani Laxmibai in the Indian Rebellion of 1857, as well as by Pazhassi Raja of Kerala to fight the British. Other examples of recent guerrilla wars include:

Africa

• Angolan Civil War
• Darfur Conflict
• Ivorian Civil War
• Rhodesian Bush War
• Sudan
• Tuareg Rebellion (2007–2009)
• Western Sahara War

Asia:

• Soviet war in Afghanistan
• Sri Lankan Civil War

Europe

• Kosovo War
• The Troubles

Latin America:

• Farabundo Martí National Liberation Front (FMLN), El Salvador - became a political party and have current presidency
• Nicaraguan Revolution

Afghan guerrillas that were chosen to receive medical treatment in the United States, Norton Air Force Base, California, 1986.

Present ongoing guerrilla wars include:

Africa

• South Sudan
• Uganda - Lord's Resistance Army

Asia

• Arab–Israeli conflict
• Balochistan conflict
• India - Communist insurgency
• Iran–Party for a Free Life in Kurdistan conflict
• Iraq War
• Islamic insurgency in the Philippines
• South Thailand insurgency in Southern Thailand along the Malaysia-Thailand border
• Taliban insurgency in Afghanistan
• Kurdish–Turkish conflict

Latin America:

• Colombian armed conflict (1964–present)
• Internal conflict in Peru
• Shining Path
• Zapatista Army of National Liberation, Mexico - has been relatively non-violent since 1994

Russia

• Second Chechen War

Popular culture[link]

• For Whom the Bell Tolls, an Ernest Hemingway novel which tells the story of Robert Jordan, an American volunteer attached to a guerrilla unit during the Spanish Civil War.
• Chetniks! The Fighting Guerrillas (1943), a 20th Century Fox movie on the guerrilla resistance movement of General Draza Mihailovich in German-occupied Yugoslavia during World War II.
• Undercover (1943), a British film produced by Ealing Studios, released in the US by Columbia pictures as Underground Guerrillas.
• The 1965 novel Dune features such warfare as conducted against House Harkonnen by the nomadic Fremen tribe, led by Paul Atreides.
• Season 3 of Battlestar Galactica which focuses on the guerrilla war against the Cylons by the former citizens of the Twelve Colonies on New Caprica.
• The Tomorrow series by John Marsden about guerrilla warfare after a fictional invasion and occupation of Australia.
• Che, Steven Soderbergh's two-part 2008 biopic about Che Guevara starring Benicio del Toro as Che.
• Red Faction: Guerrilla, a game in which the player is a guerrilla fighting an entrenched enemy.
• "Guerrilla Radio", a 1999 rock song by Rage Against the Machine.
• "Red Dawn", a 1984 American war film about a group of high school students become engaged in guerrilla warfare after their country is invaded by Cubans and Russians.
• "Defiance", a 2000's movie about guerrilla fighters in 1940's Belarus against the Nazis.

See also[link]

Footnotes[link]

Further reading[link]

• Robert Asprey, War in the Shadows: The Guerrilla in History
• Fitzroy Maclean, Disputed Barricade: The Life and Times of Josip Broz Tito
• Peter MacDonald, Giap: The Victor in Vietnam
• Keats J. 1990. They Fought Alone. Time Life. ISBN 0-8094-8555-9
• Schmidt LS. 1982. "American Involvement in the Filipino Resistance on Mindanao During the Japanese Occupation, 1942-1945". M.S. Thesis. U.S. Army Command and General Staff College. 274 pp.

External links[link]

Wikimedia Commons has media related to: Guerrilla warfare

Look up guerrilla in Wiktionary, the free dictionary.

• Spanish Anthem of the traditional Guerrilleros unit
• Tribute to Mexican Women Guerrilleras. On the Freedom Country
• abcNEWS: The Secret War - Pakistani militants conduct raids in Iran
• abcNEWS Exclusive: The Secret War - Deadly guerrilla raids in Iran
• Insurgency Research Group - Multi-expert blog dedicated to the study of insurgency and the development of counter-insurgency policy.
• Guerrilla warfare on Spartacus Schoolnet
• Encyclopaedia Britannica, Guerrilla warfare
• Mao on Guerrilla warfare
• Relearning Counterinsurgency Warfare
• Counter Insurgency Jungle Warfare School (CIJWS)India

Ron Finley is a Los Angeles-based fashion designer to professional athletes,^[1][2][3] and a collector of original blaxploitation posters.^[4][5] His poster collection was featured in Miramax’s book on the era, What It Is, What It Was.^[6]

References[link]

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This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (April 2010)

Charles Williamson (born 1977) is better known by his stage name Guerilla Black aka Sheereen is a rapper from Compton, California.^[1] He was born in Chicago, Illinois. He came to fame after releasing his debut album Guerilla City (2004) which featured the singles "Compton" Featuring Beanie Man and "You're The One" Featuring Mario Winans. Guerilla Black released a track titled "400 Shotz, the Funeral" taking aim at The Game, Jermaine Dupri and Daz Dillinger. His latest mixtape, "The Black Tapes" was released in 2009. It is notable for Williamson's change in rapping style, a change he acknowledges on several tracks. Features on the Mixtape included Hot Dollar, T-Pain and Akon.

He has been both criticized and praised for having a similar voice and delivery to the late Notorious B.I.G. and even pays homage to Biggie on his "Real Niggaz Say Real Shit" mixtape, on the track "Letter to B.I.G." Williamson also bears a striking physical resemblance to Biggie.

He is the brother of rapper Hot Dollar, and both rappers are part of the "Dolla Figga" rap collective.

Guerilla Black has also contributed both his music and performed voice work of the character Dupree in the Playstation 2 video game, 187 Ride or Die.

Discography[link]

Albums[link]

• 2004: Guerilla City
• 2007: God Bless The Child

Mixtapes[link]

• 1999: N.O.T.O.R.I.O.U.S. B.L.A.C.K.
• 2004: Black by Popular Demand
• 2007: Real Niggaz Say Real Shit (Vol. 1)
• 2009: The Blacktapes

Singles[link]

References[link]

Beenie Man
Beenie Man performing in August 2008
Background information
Birth name	Anthony Moses Davis
Also known as	Ras Moses, The Doctor, The Girls Dem Sugar[1]
Born	(1973-08-22) August 22, 1973 (age 38)
Origin	Kingston, Jamaica
Genres	Reggae, dancehall, reggae fusion, ragga-soca
Occupations	Musician, songwriter, deejay, producer
Years active	late 1970s–present
Labels	Brookland Universal Republic Island Jamaica/PolyGram Records Virgin/EMI Records
Associated acts	Don Omar, Snow (musician), Talib Kweli, Memphis Bleek, YoungBloodZ, Pastor Troy, Johnny J , T.I.
Website	www.beeniemanmusic.com

Anthony Moses Davis (August 22, 1973),^[2] better known by his stage name Beenie Man, is a Grammy award winning Jamaican reggae artist. He is the self-proclaimed "King of the Dancehall".

Biography[link]

Davis was born in the Waterhouse district of Kingston in 1973.^[2][3][4] He was involved in the music industry from a young age, starting toasting at the age of five, and was encouraged by his uncle Sydney Wolfe, who played drums for Jimmy Cliff.^[5][6] He won the Tastee Talent contest in 1981,^[3][7] and Radio DJ Barry G introduced him to local sound system operators, who helped to establish the popularity of the young deejay, who became known as Beenie Man.^[5] He recorded his debut single, "Too Fancy", with record producer Henry "Junjo" Lawes in 1981, with Lawes also including him on the 1983 album Junjo Presents Two Big Sounds alongside established stars such as Dillinger, Fathead, and Ringo.^[3] His debut album, The Invincible Beenie Man: The Ten Year Old DJ Wonder was produced by Bunny Lee and released in 1983,^[8] his first hit single following the same year with the Winston Holness-produced "Over the Sea".^[3] In 1984 Beenie Man recorded some material with Barrington Levy (released ten years later), but his music career was put on hold while he finished school, and spent time travelling to the United Kingdom, United States, and Canada.^[3]

1990s return[link]

Beenie Man continued performing and honed his craft beside the then dominant dancehall figures including Ninjaman, Admiral Bailey and Shabba Ranks. He found his artistic home at the Shocking Vibes studio where he continued to record singles with only moderate success in the early 1990s. His career gained momentum after a performance at the Reggae Sunsplash festival in 1992, and a rivalry with Bounty Killer began the following year after Beenie Man was accused of stealing Bounty Killer's style and catch phrases.^[3] The rivalry was captured on the 1994 album Guns Out, with the two artists settling the feud with a soundclash.^[3] Beenie Man had his first number one single in Jamaica in 1993 with "Matie", and he won the DJ of the Year Award the same year, the first of eight consecutive awards.^[7]

International stardom[link]

Partially as a result of prodding from his producers, Sly and Robbie, with whom he recorded cover versions of Bob Marley's "Crazy Baldhead" and "No Woman No Cry" in 1994, the latter a Jamaican chart-topper, Beenie Man converted to the Rastafari movement, as did several of his contemporaries at the time, although in 2005 he stated "I have not converted. I was baptised an Ethiopian Orthodox and at the age of 10 I became a Judah Coptic."^[3][6] In 1994, he was signed by Island Records and released the critically acclaimed album Blessed, which established his reputation internationally.^[3] In 1995 he toured the UK and joined up again with Barrington Levy to record an updated jungle version of Levy's "Under Mi Sensi".^[3]

In 1995, Beenie Man collaborated with Dennis Brown and Triston Palmer to release Three Against War and Mad Cobra and Lieutenant Stitchie on Mad Cobra Meets Lt. Stitchie & Beenie Man. He also collaborated with Lady Saw on "Healing", Sanchez on "Refugee", and Michael Prophet on "Gun 'n' Bass", further establishing his reputation.^[3] He took another step up the ladder in 1996, releasing the seminal Maestro, produced by Patrick Roberts and shot him to UK fame. During the period from the mid to late 1990s, Beenie Man dominated the Jamaican charts to the extent that he perhaps had a good claim to the crown of "Dancehall King", a title only bestowed previously on Yellowman in the early 1980s. Beenie Man's first real break into the United States came in 1997. He heard an instrumental rhythm by an unknown producer named Jeremy Harding, and demanded to add his voice to the rhythm. So this was the birth of his first international hit; he recorded "Who Am I" and the single quickly went Gold. It opened the doors for the world to see a new reggae star in the pages of Newsweek and other major media outlets. The same year, Beenie Man topped the Jamaican singles chart with seven different singles.^[3]

Beenie Man appeared as himself in the 1997 film Dancehall Queen.

In 1998, Beenie Man headlined Reggae Sunsplash and signed to Virgin Records to release albums in the United States. His first American offering was The Doctor (1998). During the late 1990s, Beenie Man began his conquest of America with the hits, "Romie", "Who Am I", and "Girls Dem Sugar", which featured American R&B singer, Mýa. During this time he received an impressive number of international music awards including a MOBO Award for Best International Reggae Act in 1998,^[9] while remaining at the top of the local charts. In 2000, Beenie Man released Art & Life, which featured Arturo Sandoval and Wyclef Jean (The Fugees), for which received a Grammy Award for Best Reggae Album.^[3] In the same year he co-produced (with Wyclef Jean) the debut album by actor Steven Seagal.^[3] Beenie Man, like many dancehall artists is outspoken on a number of social issues, as exemplified by songs such as "Steve Biko" and "Murderer".^[10][11][12]

In 2002, he had a sizeable hit with a duet with Janet Jackson called "Feel It Boy", but his biggest break in America came in early 2004 with the release of a remix of "Dude", featuring guest vocals by fellow Jamaican Ms. Thing, as well as rhymes by Shawnna. He thus cemented his fan base on both sides of the Atlantic.

He had hits in the UK in 1998 with "Who am I" (#10), in 2003 with "Street Life" (#13) and "Feel It Boy" (UK #9), a duet with Janet Jackson, and in 2004 with "Dude" (#7) and "King of the Dancehall" (#14).^[13]

He was also a judge for the 6th annual Independent Music Awards to support independent artists' careers.^[14]

In April 2008 it was announced that Beenie Man was to co-write and star in the film Kingston.^[15] In October 2010 Beenie Man came out with the EP "I'm Drinking Rum and Red Bull", which included 4 songs, "Im drinking Rum and Red Bull", "I'm Okay", and two versions of "Stack and Pile". He later relaased the full album on February 28, 2011. "Im Drinking Rum and Red Bull" features Future Fambo. In September 2008 Beenie Man was cleared of charges of tax evasion.^[16][17]

In April 2009, Beenie Man signed with Brookland Entertainment, a new record label formed by Eric Nicks and The Trackmasters, in preparation to release his new album, "The Legend Returns". The music video for the release of his new single “Gimme Gimme” will be shot in Canada on April 18, 2009. The song "Let's Go" was released on the Overproof Riddim compilation album in 2011.

Personal life[link]

Beenie Man married Michelle "D'Angel" Downer on August 22, 2006. Downer was previously known as long-time girlfriend to Bounty Killer. They have a son together, Marco Dean,^[18] born in November 2006. In June 2007, Beenie Man separated from his wife due to her alleged infidelity. In March 2010, they released a duet single titled "You Are My First", although at the time they were separated.^[18] The couple divorced in 2011.^[19]

Controversy[link]

The lyrics to some of his songs have been criticized for inciting the murder of homosexuals.^[20] He was removed from the 2004 MTV Video Music Awards after protests by gay-rights activists.^[21] That same year, Beenie Man was stopped by police at Heathrow Airport in London, after the cancellation of a concert in England.^[22] He then issued an apology for the lyrics through his record company.^[23] In 2005, gay rights group OutRage! suspended their opposition to Beenie Man after he agreed not to play songs featuring homophobic lyrics, and he performed in London that year.^[24] The following year, he claimed his lyrics were anti-pedophilia, not against consensual homosexual relationships.^[25]

In 2007, it was reported that Beenie Man, along with several other artists, had signed the Reggae Compassionate Act, an agreement to cease performances of anti-gay material.^[26] He later denied that he had signed the act.^[27] As of 2010, protests have continued to cause cancellations of his concerts in some countries, including New Zealand, Belgium and the Netherlands.^[28][29][30]

In 2012, Beenie Man apologized to the gay community for his earlier 'homophobic' lyrics: "Let me make this clear and straight.^[31] I have nothing against no one. I respect each and every human being, regardless of which race or creed, regardless of which religious belief you believe in, and regardless of which sexual preference you are, including gays and lesbian people. I respect all human...Please I am begging you do not have me up for some songs I wrote a long time ago. I love each and every one and am just begging each and everyone to do the same."^[32][33]

Discography[link]

Albums[link]

Studio albums[link]

• 1983: The Invincible Beenie Man: The Incredible Ten Year Old DJ Wonder - Bunny Lee
• 1992: Cool Cool Rider - VP
• 1994: Dis Unu Fi Hear - High Tone
• 1994: Defend It VP
• 1994: Guns Out with Bounty Killer - Greensleeves
• 1995: Blessed - Island
• 1995: Maestro - Greensleeves & VP
• 1995: Mad Cobra Meets Lt. Stitchie & Beenie Man - VP
• 1997: Many Moods Of Moses - VP
• 1999: Y2K - Artists Only
• 1999: Ruff n Tuff
• 1999: The Doctor - VP
• 2000: Art and Life - Virgin
• 2001: Black Liberty
• 2001: Youth Quake
• 2002: Tropical Storm
• 2004: Back to Basics
• 2006: Concept of Life
• 2006: Hundred Dollar Bag
• 2006: Undisputed
• 2007: Monsters of Dancehall
• 2009: The Legend Returns
• 2012: TBA

Compilations[link]

• 1995: All the Best
• 2000: Best of Beenie Man
• 2002: Gold - The Very Best of - Charm
• 2005: Kingston to King of the Dancehall
• 2005: Greatest Hits So Far

Live albums[link]

• 2004: Live in San Francisco

Mixtapes and unofficial releases[link]

• 2000: Trendsetter
• 2004: Cool Cool Rider - The Roots of a Dancehall Don
• 2006: Its Ah! Beenie (riddim mixtape)
• 2007: Monsters of Dancehall

Singles[link]

• 1981: "Too Fancy"
• 1983: "Over the Sea"
• 1993: "Matie" (PROD by Dave and Donovan Mills and Efraim Barrett on the Shelly Power label)
• 1995: "Slam"
• 1995: "Romie"
• 1995: "Old Dog"
• 1995: "Healing" (with Lady Saw)
• 1997: "Dancehall Queen" (with Chevelle Franklin)
• 1998: "Who Am I (Sim Simma)"
• 1998: "Tell Me"
• 2000: "Jungle Boogie" (featuring Sly and Robbie)
• 2000: "Love Me Now" (featuring Wyclef Jean)
• 2000: "Girls Dem Sugar" (featuring Mýa)
• 2002: "Fresh from Yard" (featuring Lil' Kim)
• 2002: "Feel It Boy" (featuring Janet Jackson)
• 2002: "Red Red Red" (with Robyn)
• 2003: "Street Life" (featuring Assia)
• 2003: "Bossman" (featuring Sean Paul and Lady Saw)
• 2004: "Dude" (featuring Ms. Thing and Shawnna)
• 2004: "King of the Dancehall"
• 2005: "Specialists" (featuring Vybz Kartel)
• 2006: "Girls" (featuring Akon)
• 2006: "Hmm Hmm"
• 2006: "Dreaming of You" (featuring Alaine)
• 2007: "Give It Up" (featuring Barbee)
• 2008: "Wine Gyal"
• 2008: "Pickney Nah Hold Yah Dung"
• 2008: "Gimme Gimme"
• 2010: "I'm Drinking/Rum & Red Bull"
• 2012: "Let's Go"

Featured singles[link]

• 1996: "Sound Clash" (Dream Warriors featuring Beenie Man)
• 1996: "Hands In the Air" (Doug E. Fresh featuring Beenie Man)
• 1999: "Outa Space (UFOs)" (Machel Montano featuring Beenie Man); album Any Minute Now
• 2000: "Money" (Jamelia featuring Beenie Man)
• 2001: "I'm Serious" (T.I. featuring Beenie Man)
• 2004: "Compton" (Guerilla Black featuring Beenie Man)
• 2005: "Soul on Fire" (KMC featuring Beenie Man)
• 2006: "Belly Danza" (Don Omar featuring Beenie Man)
• 2006: "Zingy" (Ak'Sent featuring Beenie Man)
• 2006: "Flow Natural" (Tito El Bambino featuring Deevani and Beenie Man)
• 2006: "Heaven Baby" (Brooke Hogan featuring Beenie Man)
• 2007: "Back It Up"
• 2008: "Better than Dem" (Natasja featuring Beenie Man)
• 2008: "Scorpion" (Nisha B. featuring Beenie Man)
• 2008: "Burnin' Burnin" (Ms. Triniti featuring Beenie Man)
• 2009: "Get It On" (Rasun featuring Beenie Man)
• 2009: "Giggle" (Busta Rhymes featuring Beenie Man)
• 2009: "Woman"
• 2009: "International" (Chali 2na featuring Beenie Man)
• 2009: "Pleasure" (2G featuring Beenie Man and Chris S)
• 2012: "Gun Shot" (Nicki Minaj featuring Beenie Man)

Notes[link]

References[link]

• Thompson, Dave (2002). Reggae & Caribbean Music. Hal Leonard Corporation. ISBN 0-87930-655-6. 
• Larkin, Colin (1998). The Virgin Encyclopedia of Reggae. Virgin Books. ISBN 0-7535-0242-9. 

Further reading[link]

• Wray, Milton: Who Am I?: The Untold Story of Beenie Man, 2008, Great House/Omnimedia, Kingston, Jamaica, ISBN 978-9769519930

External links[link]

• Official website
• Beenie Man discography at MusicBrainz

Gil Scott-Heron
Scott-Heron in 2010
Background information
Birth name	Gilbert Scott-Heron
Born	(1949-04-01)April 1, 1949 Chicago, Illinois, U.S.
Died	May 27, 2011(2011-05-27) (aged 62) New York City, U.S.[1]
Genres	Soul,[2] jazz poetry,[3] jazz, blues,[4] spoken word soul, jazz-funk, proto-rap
Occupations	Poet, singer, songwriter, author
Instruments	Vocals, electric piano, guitar
Years active	1969–2011
Labels	RCA, Flying Dutchman, Strata East, Arista, TVT, XL
Associated acts	Brian Jackson, Ron Holloway, Jamie xx, Musicians United for Safe Energy, Black and Blues

Gilbert "Gil" Scott-Heron (April 1, 1949 – May 27, 2011)^[5] was an American soul and jazz poet,^[2][3] musician, and author, known primarily for his work as a spoken word performer in the 1970s and '80s. 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",^[4] which he defined as "a scientist who is concerned with the origin of the blues."^{[note 1][6]} 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 addition to being widely considered an influence in today's music, 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 also published, posthumously on January 2012.^[7][8]

His recording work received much critical acclaim, especially one of his best-known compositions "The Revolution Will Not Be Televised". His poetic style was influential upon every generation of hip hop since his popularity began.^[9]

Early years[link]

Gil Scott-Heron was born in Chicago, Illinois.^[4] 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 soccer player in the 1950s who became the first black athlete to play for the Glasgow Celtic Football Club. Gil's parents separated in his early childhood^[10] and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee.^[11][12] When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in the Bronx, New York City. He enrolled at DeWitt Clinton High School,^[10] but later transferred to The Fieldston School^[4] after impressing the head of the English department with one of his writings and earning a full scholarship.^[10] 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?'"^[13] This type of intractable boldness would become a hallmark of Scott-Heron’s later recordings.

Scott-Heron attended Lincoln University in Pennsylvania, as it was the college chosen by his biggest influence Langston Hughes. 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.^[14] The Last Poets 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?"^[10] Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published in 1970 and well received. Although Scott-Heron never received his undergraduate degree, he received a Master's degree in Creative Writing in 1972 from Johns Hopkins University. His 1972 masters thesis was titled Circle of stone.^[15]

Recording career[link]

"Small Talk at 125th and Lenox" noicon The early live recording from Scott-Heron's debut album features spoken word vocal delivery and African-style congas. "The Revolution Will Not Be Televised" noicon One of his best-known compositions contains hip hop elements such as rapping, cultural and political references, heavy drumbeats, and minimalist production. "The Bottle" noicon Winter in America's only single, a rhythmic social commentary with Scott-Heron on keyboards and Brian Jackson playing flute. Problems listening to these files? See media help.

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 15 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 the pianist who would become his 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 Johnny Pate (conductor), Brian Jackson on keyboards, piano, 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.”^[10]

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.^[16][17] The following year, Scott-Heron and Jackson also released Midnight Band: The First Minute of a New Day. 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. In the July 1976 Bicentennial issue of Playboy Scott-Heron was profiled; the accompanying artwork shows Scott-Heron singing or speaking into a microphone as it melts from the heat of his words.^{[citation needed]} Another hit 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 also a frequent critic of President Ronald Reagan and his conservative policies.^[18]

Scott-Heron recorded and released only 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 CD's; Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.^[19]

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 US with those in apartheid-era South Africa, implying that the US 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"^[20][21] 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.^[22]

—Gil Scott-Heron

Gil Scott-Heron was honored posthumously as a 2012 Grammy Lifetime Achievement Award winner by the National Academy of Recordings Arts and Sciences.^[23] Charlotte Fox, member of the Washington, DC, NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award. The letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.^[24] Scott-Heron's memoir, The Last Holiday, published posthumously by Canongate in the UK and Grove Press in the US, went on sale in January 2012.^[25]

Later years[link]

In 2001, Scott-Heron was sentenced to one to three years' imprisonment in New York State for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003. On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. Scott-Heron's sentence was to run until July 13, 2009. He was paroled on May 23, 2007.^[27] The reason given for the violation of his plea deal was that the clinic refused to supply Scott-Heron with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview.^[28][29][30]

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.

Scott-Heron performing at the Regency Ballroom in San Francisco, 2009

On October 10, 2007, the day before a scheduled (but ultimately cancelled) second SOB's performance, he was arrested on felony possession of cocaine charges. He continued to make live appearances at various US venues during the course of 2008 and 2009, including further appearances at SOBs in New York. He stated in interviews that work was continuing on his new album, which would consist mainly of new versions of some of his classic songs, plus some cover versions of other artists' work. Canongate Books originally planned to publish The Last Holiday in 2003, before it was put on hold; the book was due to be previewed via a website set to be launched on April 1, 2009, but this did not appear.^{[citation needed]}

Mark T. Watson, a student of Scott-Heron's work, dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. The book was published in the UK in 2004 by Fore-Word Press Ltd. Scott-Heron recorded one of the poems in Watson's book Black & Blue due for release in 2008 as part of the album Rhythms of the Diaspora by Malik & the OG's on the record label CPR Recordings.^{[citation needed]}

In April 2009 on BBC Radio Four, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man.^[31] Having interviewed Gil Scott-Heron in New York a month earlier, Pieces of a Man was the first UK announcement from Gil of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Gil Scott-Heron for a feature titled The Legendary Godfather of Rap Returns.^[32] In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a brand new track "Where Did The Night Go" made available as a free download from the site.

Scott-Heron released his new album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here is Scott-Heron's first studio album in sixteen years. The pair started recording the album in 2007, with the majority of the record being recorded over the last twelve months with engineer Lawson White at Clinton Studios in New York. Some have called the record “reverent” and “intimate” due to Scott-Heron’s half-sung, half-talked delivery of his poetry. “I’m New Here” is 28 minutes long with 15 tracks. However, casual asides and observations collected during recording sessions are also included as interludes.^[10] The album attracted substantial critical acclaim with The Guardian newspaper's Jude Rogers declaring it one of the next decade's best records.^[33]

The first single from the album was "Me And The Devil", which was released on February 22, 2010. It was debuted by BBC Radio 1's Zane Lowe as his "Hottest Record In The World", along with other specialist DJs such as Gilles Peterson and Benji B. The album's remix, We're New Here, was released in 2011, featuring reworking by English music producer Jamie xx of material from the original album.^[34] It was also very well received by music critics.^[35]

In 2010 he was due to play a gig in Tel Aviv, but this attracted criticism from Palestinian groups 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." In response, he cancelled the gig.^[36]

Death[link]

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.^[1][37] 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.^[30] The cause of Scott-Heron's death has yet to be announced.

He is survived by his son Rumal Rackley from his relationship with Lurma Rackley,^[38] daughter Gia Scott-Heron from his marriage to Brenda Sykes;^[37] and daughters Raquiyah Kelly Heron^[39] and Chegianna Newton.^[38][40] He is also survived by his sister, Gayle and a brother, Denis Heron, who once managed Scott-Heron;^[41] an uncle, Roy Heron;^[42] and by nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks and who was a member of the Lost Boyz.^[39]

In response, 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.^[43] His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met".^[37] 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!!".^[44] Richard Russel, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me".^[45] Eminem stated that "He influenced all of hip-hop".^[46] Lupe Fiasco wrote a poem about him and posted it on his website.^[47] Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where in tribute to Scott-Heron, Kanye West performed "Lost in the World"^[48] and "Who Will Survive in America",^[49] songs from his last album, My Beautiful Dark Twisted Fantasy.^[48] "Who Will Survive in America" was co-written by Scott-Heron.^[50]

Influence[link]

Scott-Heron's work has influenced writers, academics and musicians from indie rockers to rappers.^[51] His work during the 1970s influenced and helped engender later 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".^[52] 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".^[2] 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".^[2] Ben Sisario of The New York Times writes that "He preferred to call himself a "bluesologist," drawing on the traditions of blues, jazz and Harlem renaissance poetics".^[4] 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".^[53] On his influence, a music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists".^[9] 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."^[54] The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating: