Lyrics Yes We Can Can Pointer Sisters - Blue And Red Bow Tie

′Cause they're our strongest hope for the future. And try to live as bro... De muziekwerken zijn auteursrechtelijk beschermd. Yes We Can Can Covers. Sign up and drop some knowledge. Examples of this include early rock and roll hits like Big Mama Thorton's "Hound Dog" and Ruth Brown's "Mama, He Treats Your Daughter Mean" as well as Aretha Franklin's soul classic "Think. "

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Yes We Can Lyrics Pointer Sisters

The freedom they embodied through the eclectic repertory of their early albums and their image provided a template that was embraced by the R&B, gospel and pop music girl groups that emerged during the late 1990s and early 2000s. Barack Obama's use of the 1973 recording "Yes We Can Can" during his 2008 Presidential campaign offered a subtle reminder of how the group contributed to the diverse soundtrack of Black Power Era America. Surrounded by strong examples of Black achievement, the Pointer Sisters were also very aware of how segregation and racism limited black upward mobility. Heard in the following movies & TV shows. The sonic recipe that catapulted the Pointer Sisters into this chapter of their crossover success combined the gospel-infused vocals of soul music and the polyrhythmic, metronomic grooves of funk and disco with an instrumental palette that represented the era's new waves of experimentation. All the little bitty boys and girls. Robin Platzer / Images Press/Getty Images. One of the songs Rubinson and the Pointer Sisters' envisioned as a strong addition to their debut album was a cover of New Orleans-based songwriter/pianist Allen Toussaint's "Yes We Can. " Their response is the song "You Gotta Believe. "Automatic, " "Jump (For My Love)" or "Slow Hand" would not be considered protest records in the way in which we view Nina Simone's "Mississippi Goddam" or Aretha Franklin's "Respect, " but they did represent a type of resistance culture that typifies the culture industry's engagement with BIPOC and women artists. Written by: ALLEN TOUSSAINT. Writer/s: Allen Toussaint.

Lyrics Yes We Can Can Pointer Sisters Video

The marrying of funk grooves, a message of hope and transcendence and the vocal nuances of black sermonic traditions were at the heart of the contemporary gospel music approaches of artists like Edwin Hawkins, Walter Hawkins and Andrae Crouch during the '70s. This scene and the inclusion of the song on the movie soundtrack are examples of how the complicated tensions that existed between Black men and women often challenged the legitimacy of the liberation narratives promoted through the Black Power era message song. Why can't we, if we want to, yes we can can. After years of singing background for an array of artists that included Sylvester, Boz Skaggs, Esther Phillips, Cold Blood and Grace Slick, the Pointer Sisters entered the mainstream spotlight with their self-titled debut album in 1973. The connection between the Pointer Sisters' rendition and the modern gospel song are many. Always wanted to have all your favorite songs in one place?

Yes You Can Can Pointer Sisters

Barcode: 0600753764022||Sleeve: 3mm||Original Release: 1970|. The emotional peak of the communal worship experience conjured in "Yes We Can Can" occurs in the extended vamp, which makes up the final three minutes of the song. It is rooted in a groove that encompasses a deep bass ostinato, chicken scratch guitar riff and solid rhythmic pocket created by the drums. With the Pointer Sisters and Labelle, each member of the group sang both lead and background voices. These tensions were not new, as the liberation ideologies that had propelled the Black civil rights struggle since the late 19th century consistently ignored the economic, social and reproductive struggles of Black women. The label's roster during the 1970s included jazz bandleader/composer Sun Ra, disco/soul powerhouse Sylvester, rap progenitors The Last Poets and a host of other artists that stretched across musical genres.

The Pointer Sisters embodied the radicalness and uncertainty that defined Nixon-era America. First, they rejected the practice of building their sound around the juxtaposition of a single lead vocalist and the group. Have the inside scoop on this song? The Pointer Sisters' albums during these early years were emblematic of a collaborative vision that was developed among the group, producer David Rubinson and a collective of instrumentalists who understood the strong, self-defined sound identity that these women had developed prior to signing with the label. It was emblematic of their self-actualized consciousness as Black women musicians coming of age in an America that was being shaped by social chaos and movements precipitating social change. From the very beginning the Pointer Sisters fought against genre categorization, racist marketing strategies and intellectual exploitation. The song re-entered my own consciousness when, during the height of the pandemic, it was featured during an episode of the BET series American Soul.

This along with the anger and hope of the Black community were projected through Nina Simone's "I Wish I Knew How It Would Feel to Be Free, " Jimmy Collier's "Burn Baby Burn, " The Impressions' "We're a Winner, " Aretha Franklin's "Respect" and James Brown's "Say It Loud (I'm Black and I'm Proud. )" Engagement in this type of resistance work against the music industry is one of the oldest and repeated narratives of popular music history. "All they played was country music: Hank Williams' 'Your Cheatin' Heart, ' Tex Ritter's 'Do Not Forsake Me Oh My Darlin'' and Willie Nelson's 'Funny How Time Slips Away. ' I could feel the energy in the room. In the months that followed I thought more and more about the song, its poignant message and its relevance to all that was taking place, especially the wave of social unrest that the murders of Ahmaud Arbery, George Floyd and Breonna Taylor sparked last spring and summer. Anita and the other sisters continued their engagement with the political scene of Oakland well into the 1970s.

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