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"Ebony and Ivory" is a song that was released in 1982 as a single by Paul McCartney featuring Stevie Wonder. It was issued on 29 March that year as the lead single from McCartney's third solo album, Tug of War (1982). Written by McCartney, the song aligns the black and white keys of a piano keyboard with the theme of racial harmony.
The group recorded the song at Sound Ideas Studio in New York City, and released in February 1972. Larry Blackmon of the R&B/funk band Cameo was a friend of the group and played the drums on the track. The song entered the Billboard Soul singles chart in late April 1972, spending 6 weeks there and peaking at No.32 on May 20, 1972. [2]
[1] [5] A local reporter dubbed them Ebony and Ivory and the name stuck. [3] They began to play in other senior citizen facilities, in veterans' homes and hospitals. [3] [4] After being picked up by The New York Times, which put the story of "Ebony and Ivory" on its wire service, articles about them appeared in newspapers around the United States.
Download as PDF; Printable version; ... Ebony and Ivory was the name ... A reporter covering their story dubbed them Ebony and Ivory after the 1982 hit song by Paul ...
The song's racial message was not an aggressive one which could be considered bold for the year it was released (1982). The lyrics speak of ideas like "people are the same wherever you go" and "there is good and bad in everyone" and the central metaphor alludes to black and white people "living in perfect harmony".
Margaret Patrick (1913–1994) was "Ebony" in Ebony and Ivory, the name given to a pair of great-grandmothers in New Jersey, one white and one black, who played classical piano together. Each had a stroke in 1982 and became partially disabled.
Download as PDF; Printable version; In other projects ... Pages in category "Songs about black people" ... Ebony and Ivory;
Journalist Whitney Pastorek compared the song to McCartney's 1982 duet with Stevie Wonder, "Ebony and Ivory". She asserted that "Say Say Say" was a better song, and had a better "though slightly more nonsensical" music video, adding that the song had no "heavy-handed social content". [28]