Mayfield was a critically deep thinker, and it was echoed in his music. It is important to consider the historical context in which his songs were created. Curtis' albums were not simply a product of an unjust war in SE Asia that many black men were sent to fight in. They were a reflection of the oppression, racial violence, riots, extreme poverty, and widespread drug use that plagued America's urban centers and rural areas.
In 2024, it may be difficult to imagine and comprehend the conditions of NYC in the 1970s. While images of a gritty, seedy Lower East Side, Times Square, and the graffiti-splattered subway may be viewed as "cool" in a 70s-era Warhol film or Ramones album cover - the Bronx, with its predominantly black and brown residents - resembled a war zone in the wealthiest country in the world. Curtis used his music as a platform to advocate for equality, equity, and social justice, and unfortunately, his prophetic message still resonates as loudly today as it did 50+ years ago.
Amen to what you say here, Michael. Recently, I was reminded that there was a four-day race riot in New York during the summer of 1969. Curtis was really tuned in. And I totally agree that Robert's essay is brilliant as is the work he has featured in this post.
This is really, really good. I've long been a fan of Curtis/Live!, which is an absolute gem of an album, but I hadn't spent much time listening to Curtis Mayfield's solo studio albums. This post broadens my understanding of his work, and is a good prompt to listen to more of his music.
Thank you for sharing what feels disturbingly timely.
As a small historical footnote, thinking about the lines, "I’m talking ’bout brown and yellow too / high yellow girl, can’t you tell?" it's worth mentioning that, in the US, the late 60s was a low point for immigration.
The percent of the population that were immigrants had been over 10% from 1850-1920 until a series of laws restricted immigration (several laws in the 1880-90s prohibiting immigration from China and Asia, and then generally restrictive laws in the 20s) until that changed under the Johnson administration. The number of immigrants was a low of 4.7% of the population in 1970 and increased steadily from there.
This affected the racial distribution. In 1970, the census shows the population as 87.5% White, 11.4% "Negro" and 1.4% "Other." So that, obviously, made it much more likely for questions of race to be framed around White or Black and everyone else was ignored.
Thank you, Nick, for the added context. Mayfield was certainly prescient in terms of framing the issue of what is meant to be a visible minority beyond African-American as well as beyond those who were dark skinned.
The essay was written, of course, before what happened last night in Pennsylvania but I do, without getting too political, feel that Mayfield's '(Don't Worry)...' has a lot to say about what is going on these days.
Such a monumental artist (and record). Terrific essay.
Thanks you, Andres!
Brilliant essay on a brilliant album, Robert.
Mayfield was a critically deep thinker, and it was echoed in his music. It is important to consider the historical context in which his songs were created. Curtis' albums were not simply a product of an unjust war in SE Asia that many black men were sent to fight in. They were a reflection of the oppression, racial violence, riots, extreme poverty, and widespread drug use that plagued America's urban centers and rural areas.
In 2024, it may be difficult to imagine and comprehend the conditions of NYC in the 1970s. While images of a gritty, seedy Lower East Side, Times Square, and the graffiti-splattered subway may be viewed as "cool" in a 70s-era Warhol film or Ramones album cover - the Bronx, with its predominantly black and brown residents - resembled a war zone in the wealthiest country in the world. Curtis used his music as a platform to advocate for equality, equity, and social justice, and unfortunately, his prophetic message still resonates as loudly today as it did 50+ years ago.
A remarkable man and artist.
Thanks so much, Michael, and thank you for the thoughtful context here that animated Mayfield's songs.
Amen to what you say here, Michael. Recently, I was reminded that there was a four-day race riot in New York during the summer of 1969. Curtis was really tuned in. And I totally agree that Robert's essay is brilliant as is the work he has featured in this post.
This is really, really good. I've long been a fan of Curtis/Live!, which is an absolute gem of an album, but I hadn't spent much time listening to Curtis Mayfield's solo studio albums. This post broadens my understanding of his work, and is a good prompt to listen to more of his music.
Thank you for sharing what feels disturbingly timely.
As a small historical footnote, thinking about the lines, "I’m talking ’bout brown and yellow too / high yellow girl, can’t you tell?" it's worth mentioning that, in the US, the late 60s was a low point for immigration.
The percent of the population that were immigrants had been over 10% from 1850-1920 until a series of laws restricted immigration (several laws in the 1880-90s prohibiting immigration from China and Asia, and then generally restrictive laws in the 20s) until that changed under the Johnson administration. The number of immigrants was a low of 4.7% of the population in 1970 and increased steadily from there.
This affected the racial distribution. In 1970, the census shows the population as 87.5% White, 11.4% "Negro" and 1.4% "Other." So that, obviously, made it much more likely for questions of race to be framed around White or Black and everyone else was ignored.
https://www.pewresearch.org/race-and-ethnicity/2015/09/28/selected-u-s-immigration-legislation-and-executive-actions-1790-2014/
Thank you, Nick, for the added context. Mayfield was certainly prescient in terms of framing the issue of what is meant to be a visible minority beyond African-American as well as beyond those who were dark skinned.
The essay was written, of course, before what happened last night in Pennsylvania but I do, without getting too political, feel that Mayfield's '(Don't Worry)...' has a lot to say about what is going on these days.
Been listening to Curtis all morning. His voice is still so vital.
Yes - absolutely.
Thank you for this awesome post about the great Curtis Mayfield. Revisiting his music with the passage of time is a "revelation."
Thank you, Andrew - enjoy the music.
His voice is so smooth and wonderful. Great piece.
Thank you, Jon - appreciate it.
I admire this man's music greatly. His understanding of the concerns, fears and desires of his people was like few others in his genre.
Yes, indeed. I deeply admire Mayfield too.