Alex Abramovich

The lack of specific dates speaks to the poverty that Frederick ‘Toots’ Hibbert was born into in May Pen, in south-central Jamaica, some time in 1942. He was the youngest of 14 children, or seven. Both his parents were preachers in what Hibbert sometimes called ‘a sort of clapping’ church. But when he was eight or thereabouts (these numbers vary too), Hibbert lost his mother, and a few years later his father. By 13, or 15 or 16, he was in Trench Town, working as a barber, boxing as an amateur, and singing. He must have cut hair for several years. Most interviews and articles you’ll find skip forward to 1961 or 1962, when, together with Nathaniel ‘Jerry’ Matthius and Henry ‘Raleigh’ Gordon, Hibbert formed the Maytals.

‘I fell in love with Neil’s pain,’ Carrie Snodgress said, recalling her life with Neil Young. Apparently, she meant physical pain: Young had back injuries from polio contracted at the age of six or seven, type 1 diabetes and epilepsy. But no matter how chronic, pain does not make for a solid foundation. The marriage ended. Young made an album about it, then shelved it. ‘It was a little too personal,’ he told Cameron Crowe in 1975. ‘It scared me.’

I never met Little Richard, but I did spend some time with Dewey Terry, who played in his band. We sat in front of Dewey’s bungalow on Johnny Otis’s estate in Pasadena, drinking Mickey’s Malt Liquor while Dewey played guitar and talked about studio sessions and orgies. At some point, he picked up the phone and said: ‘Let’s go see Richard!’ I was young – 26, 27 years old – but I knew who Little Richard was and what he meant to the world, and was relieved when no one answered the phone. Why would you want to meet Little Richard? What would you say?

Chicago’s Black Monument Ensemble started to form in summer 2014, after Michael Brown was killed by police in Ferguson, Missouri. Damon Locks was teaching art at a prison in Illinois, and feeling less than hopeful, when he heard the Pointer Sisters’ cover of Lee Dorsey’s ‘Yes We Can Can’ come over the radio. Locks had trained as a visual artist in Manhattan and Chicago and performed, for much of the 1990s, as the singer in a post-punk band called Trenchmouth. But the music that he began making now sounded nothing like punk. Inspired by Public Enemy, by that Pointer Sisters recording, by Archie Shepp’s Attica Blues, Phil Cohran’s Artistic Heritage Ensemble, Eddie Gale’s Black Rhythm Happening, and by a performance the Voices of East Harlem gave at Sing Sing in 1972, Locks started to layer beats over snippets of Civil Rights era speeches.