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Speaker 1: In order to bend the world to his will. Fight

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Speaker 1: promoter Don King had a favorite secret weapon to wield.

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Speaker 1: It was always cash.

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Speaker 2: As Don King said over and over again, as he

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Speaker 2: told me, cash is King and King is cash. He

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Speaker 2: used cash to basically like grease the wheels for everything.

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Speaker 1: That's the Politzer Prize winning biographer of Muhammad al Li,

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Speaker 1: Jonathan i I recounts how Don King loved to use

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Speaker 1: cash to wow and manipulate boxers, especially Muhammad al Lee.

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Speaker 2: So when Ali would come over to his house, on

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Speaker 2: King said, open that drawer over there and just filled

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Speaker 2: with cash, like rolls of cash, loose bills, and Ali's

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Speaker 2: you know, eyes went bug eyed and opened wide, and

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Speaker 2: Don King says, you can stick your hand in there

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Speaker 2: one time and take as much cash as you can get.

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Speaker 1: But it's like the claw game in the bar.

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Speaker 2: You get to go down one time, pick up as

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Speaker 2: much as you want, and come back up, and that's

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Speaker 2: what you get.

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Speaker 1: Don King knows that Ali will always miss the real

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Speaker 1: lesson at hand, the lesson about control and Don King's

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Speaker 1: subtle yet tight fisted control of the boxer's futures.

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Speaker 2: He did this a lot because it was just a

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Speaker 2: way of like showing his power. And he said everybody

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Speaker 2: would rush and they would try to grab too much

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Speaker 2: at once instead of like looking for where the big

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Speaker 2: rolls of cash were. And he just laughed and he realized,

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Speaker 2: you know, this is his way of starting to take

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Speaker 2: advantage of people.

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Speaker 1: Cash is King, and King is cash. Don King's days

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Speaker 1: as a numbers man and street hustler taught him a

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Speaker 1: useful truth. People tend to focus on the flash and

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Speaker 1: the spectacle and ignore their self interest. Professional fighters scrambled

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Speaker 1: to fill their oversized fists with bills, ignoring all the

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Speaker 1: future money Don King would make off them in the ring.

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Speaker 2: And he would do that all the time. He would

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Speaker 2: offer people cash upfront, knowing that he was going to

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Speaker 2: make a lot more on the back.

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Speaker 1: End for the rumble. In the Jungle fight his baby.

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Speaker 1: His first masterpiece of promotion, don King pulls out all

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Speaker 1: the stops. Most notably, he offers up a whopping five

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Speaker 1: million dollar payday to both Ali and Foreman.

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Speaker 2: First of all, he's promising them both ungodly amounts of

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Speaker 2: money and saying, even if the deal doesn't go through,

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Speaker 2: you still get to keep a million bucks. And he

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Speaker 2: tells Foreman I've already got Ali, and he tells Ali,

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Speaker 2: I've already got a Foreman. So he's totally playing them

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Speaker 2: off of each other and playing to their egos.

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Speaker 1: Ego is both the great strength and the great weakness

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Speaker 1: of any prize fighter, so it's their ego that Don

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Speaker 1: King works.

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Speaker 2: He's telling Foreman, the only way for you to get

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Speaker 2: any respect this to beat Ali. And he knows Ali

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Speaker 2: desperately needs this fight with Foreman, so it's really convincing

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Speaker 2: Foreman is the greater challenge.

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Speaker 1: But of course Don King does what Don King does best.

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Speaker 1: He hustles Foreman.

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Speaker 2: He does that by telling him that Ali's desperate for

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Speaker 2: this fight, and you're gonna get paid. You know, you're

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Speaker 2: the champ. You're the reminding him how it's going to

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Speaker 2: be to beat Ali. It's a brilliant psychological game that

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Speaker 2: is playing.

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Speaker 1: Once their deal is in place, Don King gleefully announces

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Speaker 1: the Rumble in the Jungle will be the next great

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Speaker 1: heavyweight title fight. He makes this grand announcement the day

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Speaker 1: before the Foreman Norton title fight down in Caracas, Venezuela,

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Speaker 1: which remember, Foreman wins that title fight easily. Now, when

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Speaker 1: word gets out about the upcoming Ali Foreman fight. The champ,

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Speaker 1: George Foreman, is asked by the boxing press if he

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Speaker 1: thinks he can beat Ali. Foreman replies, in his laconic style.

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Speaker 3: Is an elephant heavy.

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Speaker 1: As for his upcoming tussle with Ali aka the People's Champ,

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Speaker 1: Foreman boasts.

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Speaker 3: I saw Ali at my fight with Norton, and he understood.

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Speaker 3: Our fight in Africa was all set. There's an agreement

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Speaker 3: pending in Africa is a bona fide location for this fight.

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Speaker 3: It's fitting that I knock out Ali in the junk.

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Speaker 1: And then the champ attempts to talk some game of

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Speaker 1: his own about Ali.

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Speaker 3: The man has a certain gift, and if you knock

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Speaker 3: his neck off, which I intend to do, he'll still

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Speaker 3: have the gift. I don't believe in philosophy. I believe

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Speaker 3: in theology. Ali was talking a lot, but people formed

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Speaker 3: their opinions on what they saw him do, not what

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Speaker 3: he said. The wisest statement I ever heard was said

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Speaker 3: to me before the fight in Caracas. It was that

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Speaker 3: I was the jamp, so be cool. I didn't know

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Speaker 3: what was meant by it until after the fight, and

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Speaker 3: it was that I was the champ and I didn't

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Speaker 3: have to. I didn't have to say.

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Speaker 4: A bunch of stuff. I could be cool.

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Speaker 1: The question remains, can George Foreman indeed be cool? Not

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Speaker 1: like Ali, but like just be cool. Welcome to Rumble,

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Speaker 1: the story of Foreman and the Soul of seventy four.

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Speaker 1: I'm your host, Zaren Burnett, the third from iHeart Podcast

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Speaker 1: and School of Humans. This is Rumble. Previously on Rumble.

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Speaker 5: The brilliance in the bullshit come together in a way

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Speaker 5: no one's ever seen before. In Don King, He's Park, Gangster, Park,

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Speaker 5: khan Man, Park, visionary Don King.

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Speaker 6: You know he's always working an angle.

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Speaker 4: Remember the Qur'an said, the black man will lead the

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Speaker 4: world out of darkness. Man, you can't run from this.

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Speaker 4: This is destiny. Baby.

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Speaker 7: In the continuing game of can You Top This? We

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Speaker 7: now take you to Kinshasa, formerly Leopoldville's Year Deep in

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Speaker 7: the Heart of Africa.

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Speaker 1: In April of seventy four, when news breaks about the

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Speaker 1: next great super fight, the boxing press reacts well, the

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Speaker 1: sportswriters overreact. Their biggest question is who is paying for

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Speaker 1: this fight? The answer Don King and his main partner

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Speaker 1: from Video Techniques, Hank Schwartz. The pair manages to put

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Speaker 1: together a shady cabal of moneymen, a consortium of international financiers.

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Speaker 1: There's a real estate company from Cleveland, Don King's hometown.

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Speaker 1: They put up five million dollars. Second is a British

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Speaker 1: fight promoter who promises to put up the other five million,

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Speaker 1: but that money falls through during negotiation, so the head

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Speaker 1: of an English investment company, John Day, steps in, not

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Speaker 1: the golfer. Third in the consortium is a Panamanian company

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Speaker 1: one based in Geneva, Switzerland, and that's known to do

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Speaker 1: business with the President of zaiir Aka. It's one of

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Speaker 1: his secret overseas shell companies. Fourth is the garran torr

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Speaker 1: for the fight contract the nation of Zaire itself, which

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Speaker 1: really means it's just President Mabutu sesay Ciku and Kucku

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Speaker 1: and Bandu Waza bangal Aka, the all powerful warrior who,

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Speaker 1: because of his endurance and inflexible will to win, goes

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Speaker 1: from conquest to conquest, leaving fire in his wake. Quite importantly,

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Speaker 1: this next great super fight is billed as a gift

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Speaker 1: from the all powerful Warrior to his people, one wrapped

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Speaker 1: up and decorated in the themes of liberation and soulful renewal.

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Speaker 1: To guarantee his spectacle, Mabutu invites the people's champ to Zaiir.

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Speaker 1: Mabutu wants his celebration of blackness to be an event

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Speaker 1: never to be forgotten and to achieve his aim of

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Speaker 1: immortality in memory. He also invites the whole world to

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Speaker 1: come to Zaiir, to the center of Africa for his homecoming.

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Speaker 1: It is a seductive cell, especially for black folks on

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Speaker 1: both sides of the Atlantic. As his report in the

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Speaker 1: press at the time.

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Speaker 8: There was a mediate enthusiasm for the project and it

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Speaker 8: was in no way diminished when men from Kinshasa discovered

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Speaker 8: that they can negotiate directly with a remarkable black brother,

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Speaker 8: Don King, a huge, theatrically garalous figure with a hairstyle

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Speaker 8: that suggests, as someone said, that he has just stepped

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Speaker 8: out of a math onto a bear electric wire.

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Speaker 4: So we wind up in Paris with a group of

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Speaker 4: investors with mineral interests in Zayed and may say to Schwartz,

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Speaker 4: do you have a black guy in your company? He'll

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Speaker 4: have to talk to the people in Zaire. I did,

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Speaker 4: and we put it together.

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Speaker 1: To answer any questions the press has about Zayer's readiness

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Speaker 1: to host such a major event. Don King promises that this.

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Speaker 4: Fight will be a tribute to the sports world, and

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Speaker 4: more importantly, to the black world. Black men will be

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Speaker 4: coming together with mutual respect. It will be symbolic the

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Speaker 4: prodigal sons will be returning home to Africa, the motherland

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Speaker 4: of black folk. This will be a spectacular such as

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Speaker 4: never been seen on the earth as yet. It will

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Speaker 4: be the fight of our lifetime.

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Speaker 1: Meanwhile, there's one person who remains skeptical about the African nation.

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Speaker 1: He warns his friend about any plans to go to

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Speaker 1: Zaire for the fight. He says if he goes, he

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Speaker 1: better be on his best behavior. Muhammad Ali teases his

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Speaker 1: friend Howard Cosell that you go over there agitating and

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Speaker 1: you'll get cooked. There's Ali reducing things down to a

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Speaker 1: racist Hollywood trope Cannibals in the dark Heart of Africa.

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Speaker 1: But Ali isn't the only one adding some tension in

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Speaker 1: terms of how he speaks about the host nation. Don

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Speaker 1: King originally tries to sell the upcoming super fight with

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Speaker 1: the slogan from the slaveh Ship to the Championship. It

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Speaker 1: has a nice rhyme to it, there's an evocative, provocative

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Speaker 1: nature to those words. Plus there's that sense of ascendants

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Speaker 1: from the enslaved up to champions. As Lewis Ehrenberg, author

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Speaker 1: and a former professor of black history, duly notes.

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Speaker 9: My perspective is that's the transition. They once were slaves

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Speaker 9: and now look, they trod the earth as giants of culture, music, sport.

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Speaker 1: Yet the host nation of Zaire, and specifically President Mabutu,

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Speaker 1: hates any mention of slavery to sell the fight. This

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Speaker 1: is the exact opposite message that he wants to send

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Speaker 1: to the world as a president, selling both the future

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Speaker 1: of his young nation and reconnecting to the pre colonial past.

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Speaker 1: But Buttu is already walking a very delicate path. This

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Speaker 1: is one aspect of his nation's history. He wishes to

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Speaker 1: avoid the ugly truth that it was African leaders like

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Speaker 1: him who sold rivaled tribesmen and women and children to

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Speaker 1: the European slavers.

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Speaker 9: The one thing that Mobutu didn't want to have publicized

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Speaker 9: is the idea of slaveship, which implicated many black tribes

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Speaker 9: and peoples because they were involved in the slave trade

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Speaker 9: as well.

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Speaker 1: In the early seventies, Black Americans were just beginning to

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Speaker 1: popularly think of Africa as roots, as the motherland, no

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Speaker 1: longer a place of shame or a source of racist

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Speaker 1: kids jokes like African Booty Scratcher or those old newspaper

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Speaker 1: comics with bone in the nose cartoon characters. Now, modern

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Speaker 1: Africa was becoming real and present for Black Americans. Yet

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Speaker 1: for cultures in West and Central Africa, they're well aware

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Speaker 1: of their historic role in the slave trade. Many don't

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Speaker 1: want to resurface old wounds at the exact time when

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Speaker 1: the cultures are reconnecting. Ever, the storyteller, President Mabutu.

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Speaker 9: He was happy about the positive aspect Black folks showed leadership,

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Speaker 9: business acumen, political sensibility, but the slavery aspect was always tense.

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Speaker 9: They don't use it after the beginning the notion of

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Speaker 9: the slave ship to the championship.

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Speaker 1: Instead of dealing with that dangerous but true narrative, Mabutu

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Speaker 1: understands that the spirit of returning home is a far

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Speaker 1: better message to send. It's a safer, easier symbol to sell.

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Speaker 1: Other than this initial disagreement over marketing, Don King and

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Speaker 1: President Mabotu find that they get along remarkably well as

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Speaker 1: business partners, mostly because, as Jonathan I points out, Don

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Speaker 1: King is blend to.

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Speaker 2: Work with with crooks for one thing, and dictators And

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Speaker 2: you know, this is part of the genius of Don King,

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Speaker 2: and maybe it comes from being in the dirty world

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Speaker 2: of boxing and having been a you know, a convicted criminal,

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Speaker 2: like his morals are are appliable to say the least.

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Speaker 1: Plus, Don King sees what he alone can uniquely offer

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Speaker 1: to a dictator in training like Mabutu.

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Speaker 2: He recognizes that these dictators would love the opportunity to

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Speaker 2: host a heavyweight fight. Think what kind of attention, what

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Speaker 2: kind of respect that's going to bring for Babutu in Zair.

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Speaker 2: This is going to give them instant worldwide status in

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Speaker 2: a way that like a dictator can only dream of.

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Speaker 2: Like how many people would they have to kill to

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Speaker 2: get that kind of power. They've tried the killing already

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Speaker 2: and it only goes so far. But now they can

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Speaker 2: become you know, world figures, and Don King can deliver

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Speaker 2: you know, Muhammad Ali and George Foreman, or Muhammad Ali

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Speaker 2: and Joe Fraser to these outposts where they don't get

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Speaker 2: any positive media attention.

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Speaker 1: Now, if you're Don King and you can offer that

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Speaker 1: sort of positive publicity to a newly self minted dictator.

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Speaker 1: You're only wondering one thing.

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Speaker 2: How much is that worth? Well, it's worth almost infinite money.

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Speaker 2: And people like Bbutu have infinite amounts of money because

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Speaker 2: they're raping their own countries, So to get tens of

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Speaker 2: millions of dollars from them is nothing. Suddenly Don King

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Speaker 2: has found this well spring of dirty money and he

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Speaker 2: doesn't care that it's dirty.

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Speaker 1: You could say Don King is key to the creation

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Speaker 1: of the modern dynamic we now know as sports washing.

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Speaker 1: The Rumble in the Jungle marks a new page in

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Speaker 1: the playbook for a developing world dictator. Thanks to Don King,

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Speaker 1: the despots see how a marginal world figure with a

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Speaker 1: bad reputation can use the majesty of sports to essentially

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Speaker 1: launder his image.

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Speaker 2: Or on an international stage. And we're talking about you know,

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Speaker 2: billions of dollars and thousands of lives that are in

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Speaker 2: the balance here, and it's definitely a pioneering moment.

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Speaker 1: President Mobutu is the kind of leader who's best described as.

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Speaker 10: He was a puppet of the United States, basically.

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Speaker 1: To fully grasp the mini crimes and can conspiracies that

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Speaker 1: culminate in the presidency of seyes Ciku Mabutu. We spoke with.

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Speaker 10: I'm Ronica Lippincot. I teach about the geography of Africa,

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Speaker 10: including its historical geography, and I director afric Kind of

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Speaker 10: Studies program at Hofstra.

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Speaker 1: That's Hofstra University in New York.

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Speaker 10: I also am the associate director of our Center for Race,

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Speaker 10: Culture and Social Justice.

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Speaker 1: Through today's lens, it's easy to see that Mabutu was

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Speaker 1: an ego mad and merciless despot, but he disguised it

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Speaker 1: with symbolism and pageantry, which means it should come as

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Speaker 1: no surprise to you that at the time of the

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Speaker 1: rumble in the Jungle, Mabutu lives in a plush palace compound.

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Speaker 1: The one thousand acre estate is known for its grandiosity.

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Speaker 1: For instance, the president doesn't just have a pool, Mabutu

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Speaker 1: has an Olympic sized pool. And he doesn't keep a

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Speaker 1: few exotic pets. Nope, there's a full zoo that stretches

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Speaker 1: across the acres of the compound. There's also an enormous

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Speaker 1: pagoda in the gardens. It was a gift from China.

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Speaker 1: Alongside this luxurious presidential compound sits a three story riverboat,

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Speaker 1: the boat's name President Mabutu. Sitting at anchor. Next to

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Speaker 1: the riverboat is a smaller boat, a hospital ship. Its

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Speaker 1: name Mama Mabutu. This is the man who's responsible for

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Speaker 1: preparing his nation for the next great heavyweight title fight.

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Speaker 1: Mabutu knows the eyes of the world will be on Zaiir.

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Speaker 1: That's what he wants, that's his plan, that's what he's

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Speaker 1: paying for. Thus he also warns his nation what is coming,

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Speaker 1: and he expresses it in the style of a Soviet

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Speaker 1: era dictator. In the months just before the fight, there

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Speaker 1: high above the streets of Kinshasa, Mabutu has great big

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Speaker 1: billboards erected. The enormous looming signage proclaim aims quote a

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Speaker 1: gift from President Mabutu to the people of Zayir and

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Speaker 1: an honor for the black man. This is how Mabotu

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Speaker 1: makes his leadership palatable to his countrymen and country women.

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Speaker 1: He placates them with gifts and with grand symbolic gestures

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Speaker 1: such as the ali Foreman fight.

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Speaker 10: As much as Mubuchu is a darling of the West,

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Speaker 10: he was very much tied to some sense of nationalism

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Speaker 10: as a way to consolidate his power.

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Speaker 1: You see, during the Cold War, many savvy developing world

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Speaker 1: leaders discovered a way to win support from the West

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Speaker 1: simply promised to be an anti communist. That declaration excused

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Speaker 1: all manner of crimes against humanity, and it freed the

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Speaker 1: strong men to pursue the worst impulses of power. Being

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Speaker 1: an anti communist is the reason so many corrupt autocrats

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Speaker 1: emerge as the rulers in this period of Africa in

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Speaker 1: liberation in the sixties and seventies.

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Speaker 11: I guess the best way I can say this is

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Speaker 11: I believe that Magutu is all about Mbutu, and however

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Speaker 11: he can gain support and consolidate his power, I think

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Speaker 11: he would do that.

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Speaker 1: Essentially, what Mabutu and men like him promised to the

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Speaker 1: West is a devil's bargain. Mabutu's presence as a strong

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Speaker 1: man leader is both a point of pride for his

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Speaker 1: people look at how powerful he is, but also his

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Speaker 1: displays of power effectively silenced dissent.

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Speaker 10: When you see a man with millions and millions of

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Speaker 10: dollars and you're living in abject poverty, you know, I'm

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Speaker 10: sure the Congolese people questioned him, but they didn't have

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Speaker 10: a voice for so long to express their outrage.

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Speaker 1: And Mabutu made sure to quash any voice of opposition

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Speaker 1: or political challenger who might usurp his authority.

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Speaker 10: There are a few things that Magutu did under his

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Speaker 10: political region. One of them was establishing this one party

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Speaker 10: political system, and he would years and years that he

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Speaker 10: was in power, he had these periodic sham elections which

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Speaker 10: he ran unopposed for president.

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Speaker 1: To further solidify his despotic rule, Mabutu promises to his

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Speaker 1: partners in the West to be the postcolonial overseer for

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Speaker 1: their economic exploitation. Mabutu offers to rubber stamp the legitimacy

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Speaker 1: of their vast mineral extraction, the pillaging by the West

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Speaker 1: of the Congo's resource rich Katonga region. In exchange, the West,

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Speaker 1: namely the United States, tolerates Mabutu's authoritarianism and rewards him

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Speaker 1: with further corruption. Meanwhile, this super fight is also Mabutu's

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Speaker 1: advertisement of this power, and thus countless contractors and teams

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Speaker 1: of construction workers now have the unfortunate task of delivering

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Speaker 1: Mabutu's gifts to the people of Zayir. What that means

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Speaker 1: for them is they now need to rebuild a soccer

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Speaker 1: stadium into a world class venue to hold this heavyweight

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Speaker 1: title fight, but also the training facilities, the accommodations for

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Speaker 1: the world press, the hotels for all the tourists, which

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Speaker 1: also means improving the telecom and the other infrastructure things

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Speaker 1: like Rhodes in Kinshasa. In many ways, they must modernize Zayir,

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Speaker 1: and they have six months to do it. While the

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Speaker 1: Rumble in the Jungle was largely made possible by Don King,

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Speaker 1: the three day concert Zaire seventy four was not his thing,

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Speaker 1: well not originally. The international Music festival was first the

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Speaker 1: dream of two artists, Hugh Masekela and Stuart Levine.

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Speaker 6: Stuart I first knew through the film because he's this

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Speaker 6: amazing character, Like, who is this guy who's obviously organizing it,

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Speaker 6: who's oftentimes in an altered state, you know, for whatever

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Speaker 6: reason of both what he took in and then he

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Speaker 6: the fact that he probably didn't sleep for a week.

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Speaker 1: That's Jeffrey Kusamba Hinti, the director of the film Soul Power,

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Speaker 1: which focuses on the Zaire seventy four Music Festival. He

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Speaker 1: was also the editor of When We Were Kings, which

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Speaker 1: focuses on the rumble in the jungle. Having watched hours

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Speaker 1: of footage, Jeff's one wish is that there were more

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Speaker 1: cameras recording everything and everyone, not just the boxers and

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Speaker 1: the big stars. So much of the story was driven,

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Speaker 1: shaped and made possible by a man you rarely see

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Speaker 1: in either film, Stuart Levine.

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Speaker 6: But knowing Stuart after the fact and explained to me

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Speaker 6: that he really was the life force of pulling together

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Speaker 6: and that was one of the sad parts of the

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Speaker 6: filmmaking that, you know, when it came to James Brown.

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Speaker 6: There's ten cameras and everything is recorded.

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Speaker 1: Also there's Stu's best friend and creative partner, Hugh Masekela,

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Speaker 1: who co produced the three day Music Festival with Stu.

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Speaker 6: Hugh Masekela was already in Africa when it was being

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Speaker 6: organized out of New York because he was, I think

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Speaker 6: doing all the African acts. So I only saw him

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Speaker 6: very intermittently in the footage, like when he pops in

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Speaker 6: to talk to Miriam. You know in the movie, there's

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Speaker 6: not much more than that.

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Speaker 1: That's Miriam as in Miriam Mikayba, who will also travel

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Speaker 1: to Zaiir to perform at the festival. She's a perfect

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Speaker 1: example of the musicians that Hugh and Stu bring to

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Speaker 1: the stage in Kinshasa. As Jeff observed in the documentary

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Speaker 1: film Footage.

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Speaker 6: Hugh Masekela really brought these amazing artists together.

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Speaker 1: The person who was responsible for building up the excitement

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Speaker 1: for this bill of incredible artist who'd all be sharing

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Speaker 1: the same stage in Zaire was the PR man, and

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Speaker 1: this rare experience was life changing for him.

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Speaker 12: I'm Gary Stromberg. I did the public relations for the

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Speaker 12: festival in Zayir. I was there hopefully to attend the fight,

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Speaker 12: but plans changed. I'm very close friends with Stuart Levine

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Speaker 12: and Humasekela. That's how I got involved in the project.

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Speaker 1: Gary Stromberg's friendship with Hugh and ste predates the Zayre

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Speaker 1: seventy four festival. But you best believe that when the

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Speaker 1: pair dreamed up their idea for a music festival in Africa,

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Speaker 1: they turned to their friend who was good with the

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Speaker 1: PR to help them spread the word. Public relations is

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Speaker 1: what Gary was doing for a living at the time,

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Speaker 1: even if he was making it up as he went along,

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Speaker 1: but he was good. Not too long after his time

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Speaker 1: in Zaire, the Rolling Stones hired Gary to tell their

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Speaker 1: story to the world press. Now, back when he first

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Speaker 1: started out, I.

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Speaker 12: Was the music division of a mainstream PR firm called

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Speaker 12: Hansen and Schwam. I didn't know anything about PR, but

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Speaker 12: I looked good. I was young, and so he set

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Speaker 12: me up as the music division. Very soon after that,

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Speaker 12: Stuart Levine and Hugh Masekela were introduced to that office

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Speaker 12: through their attorney.

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Speaker 1: Let's not forget this was the Woodstock era after all,

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Speaker 1: so that means.

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Speaker 12: They were both high as kites when they came into

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Speaker 12: the office that day, as was I. So we got

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Speaker 12: off famously right from the get go. I didn't know

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Speaker 12: anything about PR, and they didn't know very much about

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Speaker 12: what PR was intended to do. They had just formed

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Speaker 12: a company called Chisa Records, which was their record company.

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Speaker 1: The word Chisa, which you may think of as a

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Speaker 1: slang term for pot, originally is a Zulu word. It

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Speaker 1: means to burn. Once Hugh and Stu had Chisa Records

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Speaker 1: up and cooking.

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Speaker 12: And they had their first hit called Grazin in the Grass.

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Speaker 1: That was nineteen sixty eight, Right on time for the

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Speaker 1: Pan African zeitgeist blooming in the culture. Hugh Masekela's song

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Speaker 1: came a song of the summer, also a new sound

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Speaker 1: for people yearning for a new world. In July, his

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Speaker 1: song hit number one on the Billboard charts. The stratospheric

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Speaker 1: success allowed Hugh and Stu to think even bigger, and

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Speaker 1: that's where Gary Stromberg comes into their story.

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Speaker 12: So their attorney knew that they needed PR or thought

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Speaker 12: he knew that they needed PR. They went to Hanson

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Speaker 12: and Schwamp, who directed him to me, and our friendship began.

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Speaker 1: This chance bit of serendipity led to lasting relationships outside

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Speaker 1: of business.

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Speaker 12: We became very close friends. We were called Huey, Stewie

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Speaker 12: and Jewey. It was our nickname extent. I just loved

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Speaker 12: those guys. They were just they were like me. I mean,

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Speaker 12: they wanted to have fun, they were cooking in their careers,

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Speaker 12: and you know, they looked at the world very similar

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Speaker 12: to the way I looked at the world.

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Speaker 1: Hugh Masekela was clearly his own man, Stuart Levigne was

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Speaker 1: just as much his own man, and Gary fit the bill.

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Speaker 1: The three looked at the world with righteous eyes, but

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Speaker 1: more importantly burned to change the world, remake it anew Also,

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Speaker 1: it was still the sixties early seventies.

432
00:26:13,760 --> 00:26:16,240
Speaker 12: We had the consciousness of people who were getting high

433
00:26:16,640 --> 00:26:18,720
Speaker 12: and young people who were getting high. Who you know

434
00:26:18,760 --> 00:26:20,760
Speaker 12: that we were living in the world of Richard Nixon

435
00:26:21,040 --> 00:26:23,960
Speaker 12: and you know, very conservative politics and stuff.

436
00:26:23,680 --> 00:26:25,119
Speaker 1: And we were just rebels.

437
00:26:25,320 --> 00:26:28,640
Speaker 12: We weren't buying the bullshit that was coming down from

438
00:26:29,040 --> 00:26:31,600
Speaker 12: what our government was telling us. It was the Vietnam War.

439
00:26:32,080 --> 00:26:34,000
Speaker 12: We didn't go along with the program. And we were

440
00:26:34,119 --> 00:26:36,639
Speaker 12: comfortable together because of Hugh.

441
00:26:37,000 --> 00:26:40,760
Speaker 1: Stu and Gary made a strange and fast team. They

442
00:26:40,800 --> 00:26:43,879
Speaker 1: worked well together and always thought of the people first

443
00:26:44,119 --> 00:26:47,320
Speaker 1: and foremost. And so years later.

444
00:26:47,400 --> 00:26:49,960
Speaker 12: When Stewart and Hewitt came up with the idea for

445
00:26:50,280 --> 00:26:52,960
Speaker 12: Zaire for the festival, they came to me and we

446
00:26:53,000 --> 00:26:54,439
Speaker 12: got this idea, We're going to try to put this

447
00:26:54,480 --> 00:26:57,160
Speaker 12: festival together. I was a big boxing fan. I love

448
00:26:57,240 --> 00:26:59,920
Speaker 12: the idea of going to Zaire and being near Ali

449
00:27:00,160 --> 00:27:02,119
Speaker 12: and this whole deal. And I loved the music that

450
00:27:02,440 --> 00:27:06,560
Speaker 12: Masekela and Stewart created. My passion in my heart was

451
00:27:06,600 --> 00:27:09,000
Speaker 12: in R and B and jazz, and so Hugh was

452
00:27:09,000 --> 00:27:10,119
Speaker 12: one of my favorite people.

453
00:27:10,119 --> 00:27:11,080
Speaker 1: I loved his music.

454
00:27:11,359 --> 00:27:14,600
Speaker 12: I loved the whole idea of exploring Africa music. And

455
00:27:14,640 --> 00:27:16,520
Speaker 12: so when they, you know, came up with the idea

456
00:27:16,560 --> 00:27:18,720
Speaker 12: of going to Africa, I signed up right away.

457
00:27:21,800 --> 00:27:24,440
Speaker 13: Oh my name is Selimma Masekella. I am the son

458
00:27:24,480 --> 00:27:27,360
Speaker 13: of Hugh Masekella, and so that is how I am

459
00:27:27,440 --> 00:27:29,119
Speaker 13: related to this world.

460
00:27:29,680 --> 00:27:33,320
Speaker 1: As Hugh Masekela's son, Selema enjoyed a rare view of

461
00:27:33,359 --> 00:27:36,080
Speaker 1: his father. He got to see how his father paid

462
00:27:36,160 --> 00:27:39,320
Speaker 1: a lasting price to create his art to live free

463
00:27:39,400 --> 00:27:40,000
Speaker 1: as he did.

464
00:27:40,560 --> 00:27:44,560
Speaker 13: I think Graising in the Grass was a real big

465
00:27:44,600 --> 00:27:48,760
Speaker 13: two edged sword for my father in that here's this

466
00:27:49,000 --> 00:27:51,919
Speaker 13: like the style of music and this backbeat that no

467
00:27:51,920 --> 00:27:55,639
Speaker 13: one's really ever heard before, Like it's got this macanga

468
00:27:55,760 --> 00:27:59,280
Speaker 13: type roots in it, and it's catchy as fuck, and

469
00:27:59,359 --> 00:28:01,720
Speaker 13: it becomes you know, it's one of the biggest songs

470
00:28:01,720 --> 00:28:05,080
Speaker 13: in nineteen sixty eight, and it turns him into a superstar.

471
00:28:05,359 --> 00:28:08,919
Speaker 1: When I asked my pops, he clearly remembers the immediate

472
00:28:08,960 --> 00:28:10,800
Speaker 1: impact of Hugh Masekela's music.

473
00:28:10,960 --> 00:28:13,879
Speaker 14: Then he did that live at the Whiskey album with

474
00:28:14,040 --> 00:28:17,160
Speaker 14: coincidence and all that up up and away and all

475
00:28:17,200 --> 00:28:19,280
Speaker 14: those things and people that he was just too good.

476
00:28:19,800 --> 00:28:23,960
Speaker 1: Lola Love also warmly remembers Hugh Masekela's music.

477
00:28:24,520 --> 00:28:28,880
Speaker 15: Hugh Masekela, they don't play his music here. Gosh, I'm

478
00:28:28,880 --> 00:28:30,639
Speaker 15: so sad that I can't turn on the radio and

479
00:28:30,680 --> 00:28:33,040
Speaker 15: I hear Hugh Masekela's song. The only song they play

480
00:28:33,040 --> 00:28:35,439
Speaker 15: here is Graising' in the grass. And he wrote so

481
00:28:36,040 --> 00:28:37,080
Speaker 15: many more.

482
00:28:37,640 --> 00:28:38,320
Speaker 1: She ain't wrong.

483
00:28:38,880 --> 00:28:44,479
Speaker 15: One of the greatest jazz trumpeters, but also storytelling the

484
00:28:44,520 --> 00:28:50,320
Speaker 15: stories that he talks about, the South African story Stemola marketplaces.

485
00:28:50,600 --> 00:28:54,480
Speaker 15: His music is so melodic and then when he sings,

486
00:28:55,080 --> 00:29:01,280
Speaker 15: you just totally get lost in Johannesburg or gone out.

487
00:29:01,360 --> 00:29:05,120
Speaker 15: He worked with musicians from all over the continent and

488
00:29:05,200 --> 00:29:08,000
Speaker 15: each different country had a different sound.

489
00:29:09,160 --> 00:29:12,160
Speaker 1: That was the impetus in seventy four for him and

490
00:29:12,240 --> 00:29:17,120
Speaker 1: Stu to create a music festival that showcased African sounds,

491
00:29:17,400 --> 00:29:20,200
Speaker 1: the dream to turn people on to what was going

492
00:29:20,280 --> 00:29:21,640
Speaker 1: down in African music.

493
00:29:22,120 --> 00:29:25,360
Speaker 13: He and Stu thought, I believe that with that they

494
00:29:25,400 --> 00:29:30,440
Speaker 13: would be able to now make more African rooted music

495
00:29:31,080 --> 00:29:34,000
Speaker 13: and begin to like make this popular. And the labels

496
00:29:34,000 --> 00:29:37,560
Speaker 13: were like, that's cute. That was a one off. Now

497
00:29:37,640 --> 00:29:38,640
Speaker 13: y'all go over here.

498
00:29:39,080 --> 00:29:42,600
Speaker 1: Yeah, that industry talk didn't sit well with Hugh or

499
00:29:42,640 --> 00:29:43,080
Speaker 1: with Stu.

500
00:29:44,480 --> 00:29:48,280
Speaker 13: They were rebels. They were also enjoying all of the

501
00:29:48,360 --> 00:29:52,280
Speaker 13: eccentricities that came with being a musician in the scene

502
00:29:52,360 --> 00:29:56,000
Speaker 13: at the time in the late sixties early seventies.

503
00:29:55,960 --> 00:29:59,680
Speaker 1: As in, they got high and they got engaged. They

504
00:29:59,680 --> 00:30:03,200
Speaker 1: didn't chill, They got on folks' faces. They agitated for

505
00:30:03,240 --> 00:30:06,800
Speaker 1: the new way that they imagined and the sounds they

506
00:30:06,960 --> 00:30:13,520
Speaker 1: heard in their imaginations. But that was not at all

507
00:30:13,640 --> 00:30:17,719
Speaker 1: what the music executives wanted. They preferred catchy pop tunes

508
00:30:17,760 --> 00:30:21,400
Speaker 1: they could easily sell to the American youth market. That

509
00:30:22,000 --> 00:30:24,280
Speaker 1: was not what Hugh max Kela was about.

510
00:30:24,520 --> 00:30:27,240
Speaker 13: His shows were the only place where he could find peace.

511
00:30:27,720 --> 00:30:29,640
Speaker 13: And so if let's say you were in the audience

512
00:30:30,120 --> 00:30:33,360
Speaker 13: and you thought that you being the cool guy talking

513
00:30:33,400 --> 00:30:35,880
Speaker 13: to your date in the middle of the show, he

514
00:30:36,000 --> 00:30:37,640
Speaker 13: was going to stop that shit and let you know

515
00:30:38,200 --> 00:30:40,719
Speaker 13: you didn't look out in the crowd be like, do

516
00:30:40,760 --> 00:30:42,960
Speaker 13: you think that we came here to hear you, man?

517
00:30:43,280 --> 00:30:47,200
Speaker 13: Nobody came here to hear you. They came to hear meme. Man.

518
00:30:47,360 --> 00:30:48,959
Speaker 13: And if you think that it's going to get you

519
00:30:49,000 --> 00:30:52,280
Speaker 13: some tale. Man, I got bad news for you. Shut

520
00:30:52,320 --> 00:30:53,400
Speaker 13: up and listen to the show.

521
00:30:54,320 --> 00:30:57,080
Speaker 1: Lola Love once sat in on one of his audiences

522
00:30:57,120 --> 00:31:00,960
Speaker 1: and absorbed every moment of Hugh Massacre's performance.

523
00:31:01,560 --> 00:31:05,000
Speaker 15: I remember going to see you. My manager took me

524
00:31:05,040 --> 00:31:08,320
Speaker 15: to see him at the Village Gate. I fell in

525
00:31:08,360 --> 00:31:11,800
Speaker 15: love with his playing and his voice. I thought he

526
00:31:11,880 --> 00:31:14,360
Speaker 15: had the sexiest voice in the world.

527
00:31:15,040 --> 00:31:19,360
Speaker 1: Later, much later, in Zaire, she met Hugh Masekela. By

528
00:31:19,400 --> 00:31:23,600
Speaker 1: then she was a professional dancer, sharing the same stage

529
00:31:23,640 --> 00:31:24,080
Speaker 1: as him.

530
00:31:24,440 --> 00:31:26,680
Speaker 15: We got to be great friends, and I met Stu

531
00:31:27,200 --> 00:31:28,920
Speaker 15: and we were all friends.

532
00:31:29,320 --> 00:31:32,360
Speaker 1: My Pops also has a vivid memory of seeing Hugh

533
00:31:32,440 --> 00:31:35,960
Speaker 1: play his jazz live and him singing his ass off.

534
00:31:36,480 --> 00:31:39,440
Speaker 14: He would singing a song, he would introduce it, he

535
00:31:39,480 --> 00:31:41,440
Speaker 14: would say what it meant. So then when you hear

536
00:31:41,520 --> 00:31:43,880
Speaker 14: the song deep though he didn't know a single word

537
00:31:43,920 --> 00:31:46,200
Speaker 14: in the song, you knew what they were singing about.

538
00:31:46,240 --> 00:31:49,320
Speaker 14: It's like yeah, and the emotion carried the meaning.

539
00:31:50,000 --> 00:31:53,440
Speaker 1: James Brown's band leader, Fred Wesley, was friends with Hugh

540
00:31:53,520 --> 00:31:57,840
Speaker 1: Masekela during this time in his life, and Fred still

541
00:31:58,000 --> 00:32:00,000
Speaker 1: speaks highly of his musical comerce.

542
00:32:00,480 --> 00:32:03,520
Speaker 16: He never got away from who he was, you know,

543
00:32:03,640 --> 00:32:07,560
Speaker 16: because he carried us to Sueito where they were having

544
00:32:07,600 --> 00:32:11,680
Speaker 16: some kind of awards to people, and he came on

545
00:32:11,800 --> 00:32:14,800
Speaker 16: stage and he was an old man then, but he

546
00:32:14,920 --> 00:32:19,000
Speaker 16: was dancing like the old African dancing, dancing by himself.

547
00:32:19,240 --> 00:32:21,280
Speaker 16: He didn't have his trumpet with him, but you could

548
00:32:21,280 --> 00:32:24,880
Speaker 16: tell that he was still connected with his people, the

549
00:32:24,920 --> 00:32:29,120
Speaker 16: people of Soweto. He wasn't here international start he had become.

550
00:32:29,520 --> 00:32:31,720
Speaker 16: He would still Hugh Maseequila.

551
00:32:32,240 --> 00:32:36,120
Speaker 1: As Fred Wesley said, Hugh Masekela carried his people with

552
00:32:36,200 --> 00:32:41,640
Speaker 1: him wherever his path took him because he was there champion.

553
00:32:42,000 --> 00:32:45,480
Speaker 1: Hugh Masekela was also a man unafraid to speak truth

554
00:32:45,520 --> 00:32:50,120
Speaker 1: to power, just like Muhammad Ali, just like Miriam Makida,

555
00:32:50,240 --> 00:32:54,000
Speaker 1: and it made Hugh Masekela unwelcome in his homeland.

556
00:32:56,440 --> 00:33:02,040
Speaker 14: The thing about Hugh is he was absolutely like an

557
00:33:02,040 --> 00:33:07,680
Speaker 14: African aristocrat and his bearing. He wasn't asking for anything.

558
00:33:08,560 --> 00:33:11,200
Speaker 14: He's like, I'm the best horn player you ever heard.

559
00:33:11,840 --> 00:33:14,240
Speaker 14: I'm coming here to play my horn for you. Y'all

560
00:33:14,280 --> 00:33:16,520
Speaker 14: sit back and listen. And I got some stuff to

561
00:33:16,560 --> 00:33:20,440
Speaker 14: say too, because I'm also a thinker in the world,

562
00:33:20,760 --> 00:33:23,320
Speaker 14: and this shit I see right here looks a lot

563
00:33:23,360 --> 00:33:24,240
Speaker 14: like South Africa.

564
00:33:25,040 --> 00:33:28,640
Speaker 1: He not only had criticisms of his homeland, Hugh was

565
00:33:28,840 --> 00:33:32,560
Speaker 1: just as likely to turn his tongue against the racism

566
00:33:32,800 --> 00:33:36,280
Speaker 1: he saw in his new home, the United States. As

567
00:33:36,320 --> 00:33:39,080
Speaker 1: my Pops recalled, Hugh would say.

568
00:33:39,240 --> 00:33:42,640
Speaker 14: Your reputation is better than this. You all claim to

569
00:33:42,720 --> 00:33:46,480
Speaker 14: do things that I'm seeing different. You know, so that

570
00:33:46,600 --> 00:33:48,720
Speaker 14: y'all should check yourself. And then they try to get

571
00:33:48,760 --> 00:33:52,200
Speaker 14: mad at him, but they couldn't argue, well, it's not

572
00:33:52,280 --> 00:33:55,160
Speaker 14: his business. Yes it is, of course.

573
00:33:56,040 --> 00:33:59,240
Speaker 1: As a citizen of the world wherever he found himself,

574
00:34:00,000 --> 00:34:05,040
Speaker 1: Massequela made the people catching hell his business. Hugh Masekela

575
00:34:05,160 --> 00:34:09,400
Speaker 1: wasn't asking, he was demanding change because he knew the score,

576
00:34:09,640 --> 00:34:10,960
Speaker 1: he knew his worth.

577
00:34:11,280 --> 00:34:15,920
Speaker 14: We're not asking anybody for anything. We're not complaining about

578
00:34:15,920 --> 00:34:18,080
Speaker 14: what we don't have, but we're in the business of

579
00:34:18,120 --> 00:34:21,200
Speaker 14: getting it. Not to ask you for it, not to

580
00:34:21,480 --> 00:34:23,840
Speaker 14: plead with you, in reason with you, but just to

581
00:34:23,880 --> 00:34:25,360
Speaker 14: get you the fuck out of the way so I

582
00:34:25,360 --> 00:34:27,760
Speaker 14: can get my shit. And that's the way he always

583
00:34:27,800 --> 00:34:32,240
Speaker 14: struck you like. He never seem at a loss for understanding.

584
00:34:33,640 --> 00:34:37,440
Speaker 1: Much like Ali Hugh Masekela's willingness to stand up tall

585
00:34:37,680 --> 00:34:41,680
Speaker 1: and speak his mind to power won him fans all

586
00:34:41,680 --> 00:34:43,160
Speaker 1: around the globe.

587
00:34:43,880 --> 00:34:49,920
Speaker 14: His political calculations were timely and they were grounded an

588
00:34:50,000 --> 00:34:55,120
Speaker 14: international thought, but they were applicable to America and South Africa.

589
00:34:55,560 --> 00:34:59,200
Speaker 14: So they said, no, I recognized this. I know what

590
00:34:59,320 --> 00:35:01,640
Speaker 14: you all to do. You're pretending that this is the

591
00:35:01,719 --> 00:35:03,520
Speaker 14: land that are free and home of they're brave. But

592
00:35:04,040 --> 00:35:07,719
Speaker 14: I'm in Mississippi right now and they're not free, and

593
00:35:07,960 --> 00:35:09,200
Speaker 14: the people here are not brave.

594
00:35:09,880 --> 00:35:13,680
Speaker 1: First and foremost, Hugh Masekela was a musician, and it

595
00:35:13,800 --> 00:35:18,040
Speaker 1: was his musical evolution that was perhaps the most impressive

596
00:35:18,280 --> 00:35:22,839
Speaker 1: aspect of all his achievements. He relentlessly evolved.

597
00:35:23,320 --> 00:35:27,160
Speaker 14: His music always grew. He continued to make better and

598
00:35:27,239 --> 00:35:29,560
Speaker 14: better music as he got old. A lot of times

599
00:35:29,680 --> 00:35:31,560
Speaker 14: one people get older and they start doing their old

600
00:35:31,600 --> 00:35:34,680
Speaker 14: shit and just redoing it. He kept making new stuff.

601
00:35:35,080 --> 00:35:38,759
Speaker 1: That was the nature of Hugh Masekela, a musical man

602
00:35:38,840 --> 00:35:43,560
Speaker 1: of the people, an intellectual aristocrat, a soul driven to evolve,

603
00:35:43,840 --> 00:35:47,360
Speaker 1: to find new things to say, to discover new sounds

604
00:35:47,400 --> 00:35:50,440
Speaker 1: and new ways to connect with people, and to aid

605
00:35:50,760 --> 00:35:55,840
Speaker 1: their evolution as well, a cultural ambassador, guided by the

606
00:35:56,000 --> 00:36:00,760
Speaker 1: certainty that a change is always coming. That's what Zaire

607
00:36:00,880 --> 00:36:05,040
Speaker 1: seventy four was, the promise of change and a moment

608
00:36:05,160 --> 00:36:17,359
Speaker 1: of evolution. During his ascendants as a celebrity and all

609
00:36:17,440 --> 00:36:22,280
Speaker 1: his many trials and tribulations, Hugh Masekela never once lost

610
00:36:22,280 --> 00:36:25,520
Speaker 1: sight of what mattered most to him, the liberation of

611
00:36:25,520 --> 00:36:29,120
Speaker 1: his people, the people of South Africa, from the violent,

612
00:36:29,360 --> 00:36:33,960
Speaker 1: racist apartheid state that ran his country. Hugh Masekela was

613
00:36:34,120 --> 00:36:37,200
Speaker 1: unrelenting in his faith that one day, and be it,

614
00:36:37,280 --> 00:36:39,960
Speaker 1: one day, soon South Africa would be free.

615
00:36:40,480 --> 00:36:42,560
Speaker 13: A lot of people thought that my father was crazy,

616
00:36:43,000 --> 00:36:45,400
Speaker 13: you know. They would always ask like, why don't you

617
00:36:45,440 --> 00:36:49,160
Speaker 13: take citizenship here in the States or.

618
00:36:49,440 --> 00:36:50,120
Speaker 4: In the UK.

619
00:36:50,960 --> 00:36:54,600
Speaker 13: And he literally would just feel like because I'm going

620
00:36:54,719 --> 00:36:58,440
Speaker 13: home one day. And they would look at him with pity,

621
00:36:58,640 --> 00:37:03,600
Speaker 13: like sadness, not even empathy, just like oh, pobre, like

622
00:37:03,719 --> 00:37:08,160
Speaker 13: this is just the way the world is. And his

623
00:37:08,560 --> 00:37:13,200
Speaker 13: theme of his life was about somehow, some way apartheid

624
00:37:13,440 --> 00:37:15,280
Speaker 13: ending so that he could go home.

625
00:37:16,000 --> 00:37:19,760
Speaker 1: Meanwhile, he played music, but as he performed, he found

626
00:37:19,840 --> 00:37:24,440
Speaker 1: that with each passing year, the awards, the accolades, the applause.

627
00:37:25,040 --> 00:37:29,040
Speaker 13: None of this gave him satisfaction like true satisfaction. He

628
00:37:29,200 --> 00:37:33,520
Speaker 13: enjoyed creating, and he loved making music and everything that

629
00:37:33,560 --> 00:37:37,120
Speaker 13: came with it. But I believe wholly that his heart

630
00:37:37,239 --> 00:37:42,040
Speaker 13: and his spirit was deeply unfulfilled because he could not

631
00:37:42,160 --> 00:37:42,720
Speaker 13: go home.

632
00:37:43,320 --> 00:37:47,480
Speaker 1: His own success in freedom became a painful reminder of

633
00:37:47,520 --> 00:37:51,279
Speaker 1: the relentless oppression back home. He could not enjoy what

634
00:37:51,360 --> 00:37:54,160
Speaker 1: he called a life, not until his homeland and his

635
00:37:54,239 --> 00:37:55,240
Speaker 1: people were free.

636
00:37:55,920 --> 00:38:00,640
Speaker 13: So he never was able to really revel wholely in

637
00:38:00,760 --> 00:38:03,359
Speaker 13: any of it, the way you think someone who has had,

638
00:38:03,640 --> 00:38:06,360
Speaker 13: you know, such a crazy and story to a musical

639
00:38:06,480 --> 00:38:11,759
Speaker 13: journey would, And the older I got, the more I

640
00:38:11,880 --> 00:38:12,920
Speaker 13: learned what that meant.

641
00:38:13,320 --> 00:38:17,400
Speaker 1: Hugh Masekela's career trajectory slowed, and by the early seventies,

642
00:38:17,440 --> 00:38:21,440
Speaker 1: according to him quote, no record company was interested in me.

643
00:38:22,160 --> 00:38:25,520
Speaker 1: So he went home to Africa. He returned to the

644
00:38:25,600 --> 00:38:30,120
Speaker 1: continent to find inspiration and to make music with players

645
00:38:30,120 --> 00:38:33,560
Speaker 1: who felt the way he did. There were new sounds

646
00:38:33,600 --> 00:38:36,920
Speaker 1: to chase after and bring back for the eager audiences

647
00:38:37,000 --> 00:38:38,480
Speaker 1: all around the world.

648
00:38:39,200 --> 00:38:45,680
Speaker 13: My father was my best friend, my favorite storyteller. I

649
00:38:45,760 --> 00:38:51,480
Speaker 13: lived vicariously through the entirety of his journey musically as

650
00:38:51,520 --> 00:38:56,080
Speaker 13: an activist, and I think most of how I see

651
00:38:56,080 --> 00:39:00,400
Speaker 13: the world and attempt to walk through the world is

652
00:39:00,440 --> 00:39:05,920
Speaker 13: based entirely on the blueprint of his experience and the madness,

653
00:39:06,000 --> 00:39:07,760
Speaker 13: the beautiful madness that was his life.

654
00:39:10,719 --> 00:39:15,520
Speaker 1: Ramapolo Hugh Masekela was raised in Witbank, South Africa, in

655
00:39:15,600 --> 00:39:19,400
Speaker 1: the township of quak Guka. He arrived on April fourth,

656
00:39:19,520 --> 00:39:23,000
Speaker 1: nineteen thirty nine. His mother was a social worker. His

657
00:39:23,120 --> 00:39:25,920
Speaker 1: father was an artist, a sculptor who worked as a

658
00:39:25,960 --> 00:39:30,239
Speaker 1: health inspector in the coal mining town. His grandmother ran

659
00:39:30,440 --> 00:39:34,120
Speaker 1: an illegal bar. She was who primarily raised young Hugh.

660
00:39:34,640 --> 00:39:38,200
Speaker 1: There at his grandmother's illegal drinking spot. Hugh learned from

661
00:39:38,239 --> 00:39:41,440
Speaker 1: her rough client tele all he could, and he carried

662
00:39:41,560 --> 00:39:46,560
Speaker 1: that curiosity forward with him in life. Hugh Masekela once said,

663
00:39:46,840 --> 00:39:50,279
Speaker 1: quote one of the great things also about Witbank was

664
00:39:50,320 --> 00:39:53,200
Speaker 1: that all these people brought their different music and their

665
00:39:53,239 --> 00:39:56,840
Speaker 1: different stories about where they came from. As a little kid,

666
00:39:57,000 --> 00:39:59,480
Speaker 1: I hung out with them in the backyard, in the kitchen,

667
00:39:59,640 --> 00:40:01,680
Speaker 1: and I know I knew all about their countries.

668
00:40:02,200 --> 00:40:05,000
Speaker 13: Not to mention South Africa a really diverse place. You

669
00:40:05,120 --> 00:40:09,799
Speaker 13: have thirteen different tribes, languages, and this intersection of all

670
00:40:09,840 --> 00:40:13,080
Speaker 13: different types of music that comes with that, and he

671
00:40:13,200 --> 00:40:15,680
Speaker 13: just drank it all in. That really helped to shape

672
00:40:15,680 --> 00:40:16,239
Speaker 13: who he was.

673
00:40:16,920 --> 00:40:20,960
Speaker 1: At age twelve, young Hugh entered Saint Peter's Secondary School,

674
00:40:21,239 --> 00:40:24,800
Speaker 1: a boarding school close to Johannesburg. He learned some piano,

675
00:40:25,040 --> 00:40:27,320
Speaker 1: He sang for money on the streets with his friends,

676
00:40:27,800 --> 00:40:30,359
Speaker 1: and then one day, when he was fourteen, he went

677
00:40:30,400 --> 00:40:33,239
Speaker 1: to a movie. It was an American film about the

678
00:40:33,360 --> 00:40:37,920
Speaker 1: jazz cornet player Bick Spiderbeck. The movie starred Kirk Douglas.

679
00:40:37,960 --> 00:40:41,440
Speaker 1: It was called young Man with a Horn. That movie

680
00:40:41,560 --> 00:40:45,799
Speaker 1: changed Hughes whole world. After seeing the film, Hugh Masechaela

681
00:40:45,880 --> 00:40:48,800
Speaker 1: picked up the trumpet and he never put it back down.

682
00:40:49,200 --> 00:40:55,960
Speaker 13: My father was a trumpet player, flugelhorn player, singer, activists,

683
00:40:56,280 --> 00:40:59,520
Speaker 13: comedian and all around one of the coolest human beings

684
00:40:59,520 --> 00:41:03,560
Speaker 13: that you have. He was also a product of apartheid.

685
00:41:04,400 --> 00:41:07,839
Speaker 1: Hugh gets his first trumpet from a local music store

686
00:41:07,960 --> 00:41:12,080
Speaker 1: run by father, Trevor Huddleston, who was a chaplain at

687
00:41:12,120 --> 00:41:16,839
Speaker 1: a local school. Huddleston was also vocally anti apartheid, and

688
00:41:16,880 --> 00:41:21,239
Speaker 1: he was internationally known With his help, young Hugh Masekela

689
00:41:21,320 --> 00:41:25,759
Speaker 1: learns to respond directly to the violence of apartheid with art,

690
00:41:26,200 --> 00:41:30,920
Speaker 1: his own art. His music becomes his voice and his weapon.

691
00:41:31,400 --> 00:41:34,719
Speaker 13: As a young nineteen year old who was excited about

692
00:41:34,840 --> 00:41:38,440
Speaker 13: music and making music underground, not just with black people

693
00:41:38,440 --> 00:41:42,120
Speaker 13: but with white people, his life was steadily becoming more

694
00:41:42,160 --> 00:41:44,320
Speaker 13: and more in danger, and also in the manner in

695
00:41:44,360 --> 00:41:47,920
Speaker 13: which he chose to speak musically was putting him in danger.

696
00:41:48,360 --> 00:41:51,280
Speaker 13: And so he was able to escape through a divine

697
00:41:51,280 --> 00:41:55,600
Speaker 13: intervention literally of a man named Father Trevor Huddleston, who

698
00:41:55,680 --> 00:41:58,759
Speaker 13: was his music teacher at the school that he went to.

699
00:41:59,120 --> 00:42:02,759
Speaker 1: Father Huddleston was friends with a famous American jazz man,

700
00:42:02,920 --> 00:42:07,960
Speaker 1: one Louis Armstrong. In fact, Old Satchmo sent a horn

701
00:42:08,080 --> 00:42:12,440
Speaker 1: to South Africa specifically for Hugh Masekela to play, a

702
00:42:12,480 --> 00:42:16,160
Speaker 1: gift from musical Royalty, and the cultural poll of the

703
00:42:16,280 --> 00:42:20,360
Speaker 1: United States only grew stronger. That was about when, with

704
00:42:20,520 --> 00:42:24,400
Speaker 1: Huddleston as his de facto mentor, Hugh Masekela's life path

705
00:42:24,440 --> 00:42:25,480
Speaker 1: would change again.

706
00:42:26,160 --> 00:42:28,359
Speaker 13: Huddleston made it possible for my father to get out

707
00:42:28,400 --> 00:42:31,239
Speaker 13: of South Africa and he stopped in London for a

708
00:42:31,280 --> 00:42:32,839
Speaker 13: brief time, and then it made his way to New

709
00:42:32,880 --> 00:42:36,120
Speaker 13: York City where through the help of me and Mickayba

710
00:42:36,160 --> 00:42:39,600
Speaker 13: and Harry Belafonte, he would get into the Manhattan School

711
00:42:39,640 --> 00:42:41,360
Speaker 13: of Music right around nineteen sixty.

712
00:42:41,920 --> 00:42:45,040
Speaker 1: His musical and cultural connection to America would deepen with

713
00:42:45,160 --> 00:42:48,879
Speaker 1: time and with relationships.

714
00:42:47,640 --> 00:42:51,000
Speaker 13: And as a little kid, you know, his lens into

715
00:42:51,040 --> 00:42:54,000
Speaker 13: the outside world of South Africa was through records, listening

716
00:42:54,080 --> 00:42:57,279
Speaker 13: to the gramophone, so he would you hear all of

717
00:42:57,280 --> 00:43:01,600
Speaker 13: these beautiful big bands and jazz as, and his idea,

718
00:43:01,680 --> 00:43:05,799
Speaker 13: his vision of what America was or might be, was

719
00:43:06,360 --> 00:43:07,840
Speaker 13: through what he heard in the music.

720
00:43:09,360 --> 00:43:12,319
Speaker 1: In nineteen sixty seven, Hugh Masekela was invited to play

721
00:43:12,360 --> 00:43:16,400
Speaker 1: at the Monterey Pop Festival alongside American music acts like

722
00:43:16,560 --> 00:43:20,360
Speaker 1: Otis Redding and Eric Burden and the Animals. The experience

723
00:43:20,400 --> 00:43:24,040
Speaker 1: would stay with him over time. He looked to recreate

724
00:43:24,080 --> 00:43:28,760
Speaker 1: this experience but in Africa. In nineteen seventy one, Ghana

725
00:43:28,800 --> 00:43:33,800
Speaker 1: hosted a music festival dubbed Ghana seventy one that sealed

726
00:43:33,840 --> 00:43:37,239
Speaker 1: the deal. Hugh Masekela committed to his dream to put

727
00:43:37,280 --> 00:43:40,520
Speaker 1: on a multi day music festival dedicated to the music

728
00:43:40,560 --> 00:43:43,680
Speaker 1: of the black and brown people of the African diaspora,

729
00:43:44,239 --> 00:43:46,920
Speaker 1: and after his musical career slowed down in the US

730
00:43:46,960 --> 00:43:49,880
Speaker 1: in the early seventies, Hugh Masekela returned to the continent,

731
00:43:50,200 --> 00:43:53,880
Speaker 1: but still not his homeland of South Africa. Instead, he

732
00:43:54,000 --> 00:43:57,359
Speaker 1: went to Guinea, where his friend Miriam Mikaba and her

733
00:43:57,440 --> 00:44:02,319
Speaker 1: former black panther husband Stokely Carmichael aka Quame Terrey had

734
00:44:02,400 --> 00:44:07,120
Speaker 1: recently relocated. Hugh stayed for a while in Guinea, then

735
00:44:07,160 --> 00:44:10,440
Speaker 1: he moved on to Liberia. Later he popped back up

736
00:44:10,480 --> 00:44:13,919
Speaker 1: in London where he recorded an album with African reed

737
00:44:14,000 --> 00:44:18,239
Speaker 1: player Doodoo Pukwana. The album was called Home Is Where

738
00:44:18,239 --> 00:44:22,000
Speaker 1: the Music Is. It's a fitting motto for Hugh Masekela's life.

739
00:44:22,400 --> 00:44:25,239
Speaker 1: Soon enough, Hugh Masekela was on the move again. He

740
00:44:25,320 --> 00:44:30,120
Speaker 1: relocated to Ghana, then to Nigeria. That was nineteen seventy three.

741
00:44:30,239 --> 00:44:34,080
Speaker 1: That's also when he met fellow African musical great Fela Kuti.

742
00:44:34,480 --> 00:44:38,000
Speaker 1: Around that same time, the Nigerian musician was creating a

743
00:44:38,080 --> 00:44:42,760
Speaker 1: new genre of music dubbed Afrobeat. The two musicians forged

744
00:44:42,800 --> 00:44:45,919
Speaker 1: a path forward, and Hugh's connection to music kept him

745
00:44:45,960 --> 00:44:50,360
Speaker 1: going and kept his hope alive, especially when the world

746
00:44:50,520 --> 00:44:51,200
Speaker 1: was not enough.

747
00:44:52,560 --> 00:44:54,480
Speaker 13: One thing about my dad, like, if you look at

748
00:44:54,560 --> 00:44:58,719
Speaker 13: like the entirety of the history of his life, resilience

749
00:44:58,800 --> 00:45:05,360
Speaker 13: and reinvention. Resilience in reinvention, the ability to fall seemingly

750
00:45:05,600 --> 00:45:09,759
Speaker 13: to what should be the end and resurface a new

751
00:45:09,800 --> 00:45:12,560
Speaker 13: and with a new perspective and in turn a new

752
00:45:12,640 --> 00:45:15,920
Speaker 13: sound or new way of making people feel that people

753
00:45:15,960 --> 00:45:18,239
Speaker 13: couldn't ignore. And that's what he did.

754
00:45:20,239 --> 00:45:24,120
Speaker 1: And then one day in nineteen seventy four, Hugh reads

755
00:45:24,160 --> 00:45:27,560
Speaker 1: about the perfect event already planned to go down in

756
00:45:27,600 --> 00:45:32,280
Speaker 1: Africa later on that same year. It's the heavyweight title

757
00:45:32,280 --> 00:45:36,280
Speaker 1: fight between Muhammad Ali and George Foreman, and it offers

758
00:45:36,360 --> 00:45:41,040
Speaker 1: Hugh Masekela the ideal venue to make his dream real.

759
00:45:41,400 --> 00:45:44,160
Speaker 13: With Zia seventy four, with him and stew it was like, Hey,

760
00:45:45,040 --> 00:45:48,799
Speaker 13: let's get all the biggest black artists that we can

761
00:45:48,920 --> 00:45:53,080
Speaker 13: on the planet on a plane to Africa and do

762
00:45:53,160 --> 00:45:56,359
Speaker 13: a concert for this fight. Now again, this is when,

763
00:45:56,440 --> 00:45:59,319
Speaker 13: like the substances were so good at the time that

764
00:45:59,360 --> 00:46:02,759
Speaker 13: you could act. It'd be like, yes, let's do this

765
00:46:03,160 --> 00:46:06,640
Speaker 13: and pick up the phones and start calling moufuckers. And

766
00:46:06,680 --> 00:46:07,479
Speaker 13: that's what they did.

767
00:46:08,440 --> 00:46:12,239
Speaker 1: Hugh Masekela and Stuart Levine first approached Don King with

768
00:46:12,320 --> 00:46:15,160
Speaker 1: their proposal to add a music festival to the fight,

769
00:46:15,719 --> 00:46:19,480
Speaker 1: make his fight an even larger international event. It'd be

770
00:46:19,560 --> 00:46:22,560
Speaker 1: like the hospital benefit that started his friendship with Ali

771
00:46:22,760 --> 00:46:27,480
Speaker 1: and first got him into boxing. Don King thinks to himself.

772
00:46:27,239 --> 00:46:32,320
Speaker 9: The festival would add the whole global aspect of the event.

773
00:46:32,760 --> 00:46:34,560
Speaker 9: It would make it even more special.

774
00:46:35,040 --> 00:46:37,680
Speaker 1: Originally, the plan was that the music festival would occur

775
00:46:37,960 --> 00:46:38,839
Speaker 1: just before the fight.

776
00:46:39,320 --> 00:46:42,440
Speaker 9: It would be three days of music and then the

777
00:46:42,480 --> 00:46:47,160
Speaker 9: boxing event, and this would draw tourists, it would draw investors,

778
00:46:47,200 --> 00:46:51,200
Speaker 9: it would draw world attention and really elevate the country

779
00:46:51,200 --> 00:46:52,960
Speaker 9: of Zaire above anyone else.

780
00:46:53,280 --> 00:46:55,080
Speaker 1: That was the plan anyway.

781
00:46:55,000 --> 00:46:58,040
Speaker 9: And the idea behind it makes a certain amount of sense.

782
00:46:58,080 --> 00:47:01,040
Speaker 9: It fits the notion of the black at antic, the

783
00:47:01,080 --> 00:47:07,239
Speaker 9: circularity of culture and music from Africa to the United States,

784
00:47:07,360 --> 00:47:12,799
Speaker 9: to the Caribbean and back to Africa. And at a

785
00:47:12,880 --> 00:47:15,839
Speaker 9: time when many Black Americans are looking for their roots,

786
00:47:15,880 --> 00:47:17,840
Speaker 9: they're looking for their roots in the music.

787
00:47:19,000 --> 00:47:22,640
Speaker 1: Don King agrees to host the festival Zaire seventy four,

788
00:47:22,880 --> 00:47:25,719
Speaker 1: but he also tells Hum and Stu they'll need to

789
00:47:25,840 --> 00:47:28,359
Speaker 1: raise their own money to pay for it. After all

790
00:47:28,400 --> 00:47:31,920
Speaker 1: he's been through. Don King's tired of dealing with financiers.

791
00:47:32,480 --> 00:47:34,680
Speaker 1: As Fight writer Mark Kriegel notes.

792
00:47:34,800 --> 00:47:39,000
Speaker 5: He's putting together an international concert, dealing with strong men

793
00:47:39,080 --> 00:47:42,120
Speaker 5: in Africa, and at a time in his life where

794
00:47:42,120 --> 00:47:45,160
Speaker 5: he should be reporting to his parole officer.

795
00:47:45,560 --> 00:47:47,360
Speaker 1: He's pulling off the biggest coup.

796
00:47:47,239 --> 00:47:48,480
Speaker 5: That boxing has ever seen.

797
00:47:50,120 --> 00:47:54,440
Speaker 1: The tougher nut to crack is Mabutu, the President of Zaiir,

798
00:47:54,640 --> 00:47:58,240
Speaker 1: needs to approve this three day music festival, which begs

799
00:47:58,239 --> 00:48:01,960
Speaker 1: the question how is this good for Mabutu. When he

800
00:48:02,120 --> 00:48:06,400
Speaker 1: is approached, Maboutu does spot the benefits of the music festival.

801
00:48:06,760 --> 00:48:11,359
Speaker 1: He grasps the symbolic value for him. He agrees to

802
00:48:11,400 --> 00:48:15,879
Speaker 1: play host. But just like Don King, Mabotu offers them

803
00:48:16,160 --> 00:48:19,800
Speaker 1: no money for the three day music festival. So Stuart

804
00:48:19,880 --> 00:48:23,280
Speaker 1: Levine and Hugh Masekela agree they'll go find the money.

805
00:48:24,560 --> 00:48:27,920
Speaker 9: They get King to push them to the foe so

806
00:48:27,960 --> 00:48:29,200
Speaker 9: they can promote this event.

807
00:48:29,840 --> 00:48:33,760
Speaker 1: They somehow manage to secure their own funds. The money

808
00:48:33,840 --> 00:48:38,959
Speaker 1: comes from a group of Liberian investors. The overseas financiers

809
00:48:39,000 --> 00:48:41,560
Speaker 1: agree to not only pay for the festival, but also

810
00:48:41,719 --> 00:48:45,520
Speaker 1: for a film crew. They imagine an event film, something

811
00:48:45,560 --> 00:48:48,160
Speaker 1: akin to the Woodstock concert documentary.

812
00:48:48,520 --> 00:48:51,640
Speaker 9: I mean, this is a festival that is above and

813
00:48:51,719 --> 00:48:56,319
Speaker 9: beyond any other type of music festival, even Woodstock.

814
00:48:56,719 --> 00:48:58,960
Speaker 1: To help get things going, Hugh and Stu bring on

815
00:48:59,000 --> 00:49:02,400
Speaker 1: a veteran of the music industry, Don King's friend, the

816
00:49:02,600 --> 00:49:06,799
Speaker 1: multi talented Lloyd Price, most famous as the singer of

817
00:49:06,840 --> 00:49:10,240
Speaker 1: the R and B hit stagger Lee. That same summer

818
00:49:10,280 --> 00:49:13,840
Speaker 1: of seventy four, Lloyd Price tells the New York Times quote,

819
00:49:14,160 --> 00:49:16,640
Speaker 1: our purpose was to document the history of the beat.

820
00:49:16,840 --> 00:49:20,160
Speaker 1: Black America's greatest strength at present are sports and music.

821
00:49:20,480 --> 00:49:22,840
Speaker 1: We want to combine them and help Blacks in America

822
00:49:23,120 --> 00:49:27,239
Speaker 1: strangers in an alien land, to grasp the strand of

823
00:49:27,440 --> 00:49:32,400
Speaker 1: the motherland. The musical Beat pr man Gary Stromberg clearly

824
00:49:32,480 --> 00:49:35,520
Speaker 1: remembers when Lloyd Price joined.

825
00:49:35,200 --> 00:49:37,719
Speaker 12: Them, he was surprising to me because he was a

826
00:49:37,760 --> 00:49:39,880
Speaker 12: guy that kind of on the business side of it,

827
00:49:39,960 --> 00:49:42,120
Speaker 12: not on the artistic side so much. He was the

828
00:49:42,200 --> 00:49:44,800
Speaker 12: kind of the guy that managed the musicians and such,

829
00:49:44,840 --> 00:49:47,040
Speaker 12: And I didn't know anything about him other than that

830
00:49:47,320 --> 00:49:50,600
Speaker 12: he was Stagger Lee and a great music artist. But

831
00:49:50,840 --> 00:49:53,200
Speaker 12: he was a guy that really had his stuff together.

832
00:49:53,840 --> 00:49:57,160
Speaker 1: James Brown's dancer Lola Love is also quick to give

833
00:49:57,200 --> 00:49:59,360
Speaker 1: as much credit as she can to Lloyd Price for

834
00:49:59,400 --> 00:50:01,480
Speaker 1: what he brought to the festival planning.

835
00:50:02,000 --> 00:50:04,520
Speaker 15: Well, all I know is it was Lloyd Price that

836
00:50:04,640 --> 00:50:08,399
Speaker 15: made that money happen. Okay, Lloyd Price made sure they

837
00:50:08,480 --> 00:50:11,160
Speaker 15: got that money. And you know, he was just an

838
00:50:11,200 --> 00:50:14,360
Speaker 15: amazing person. I didn't get to interact with him a

839
00:50:14,400 --> 00:50:17,359
Speaker 15: lot because once he found out James Brown was not

840
00:50:17,400 --> 00:50:20,080
Speaker 15: getting on that plane, he was off to the racist

841
00:50:20,120 --> 00:50:21,120
Speaker 15: to find that money.

842
00:50:21,440 --> 00:50:24,120
Speaker 1: More on that later. The salient point is.

843
00:50:24,480 --> 00:50:26,720
Speaker 15: And I'm glad he did because I wouldn't be sitting

844
00:50:26,719 --> 00:50:28,920
Speaker 15: here talking about Zyrus seventy four.

845
00:50:30,560 --> 00:50:33,840
Speaker 1: With Lloyd Price on their side and Don King pulling

846
00:50:33,880 --> 00:50:37,400
Speaker 1: the strings. Hugh and Stu make plans for their African

847
00:50:37,480 --> 00:50:42,839
Speaker 1: music festival to become real. However, they must also never

848
00:50:42,920 --> 00:50:45,520
Speaker 1: lose sight of the fact they are now working for

849
00:50:45,719 --> 00:50:50,040
Speaker 1: Don King, band leader for James Brown, Fred Wesley is

850
00:50:50,080 --> 00:50:53,200
Speaker 1: there in the room in Los Angeles when Don King

851
00:50:53,280 --> 00:50:57,400
Speaker 1: and Lloyd Price approach the godfather of soul, mister James Brown,

852
00:50:57,800 --> 00:51:01,480
Speaker 1: and they asked him to perform as the main headliner

853
00:51:01,640 --> 00:51:02,480
Speaker 1: in Zaire.

854
00:51:03,280 --> 00:51:06,200
Speaker 16: I was just along for the ride. We were talking

855
00:51:06,200 --> 00:51:09,239
Speaker 16: about who was gonna be on the festival. Man, I

856
00:51:09,239 --> 00:51:13,879
Speaker 16: couldn't believe they'd say bb King, the Jazz Crusaders, the Spinners.

857
00:51:14,400 --> 00:51:16,359
Speaker 16: I said, I don't see how you gonna get all

858
00:51:16,360 --> 00:51:19,720
Speaker 16: these people together at one time to do the music

859
00:51:19,800 --> 00:51:21,120
Speaker 16: festival in Africa.

860
00:51:21,239 --> 00:51:24,000
Speaker 1: You know, Fred Wesley had just one other question.

861
00:51:25,000 --> 00:51:26,719
Speaker 16: I didn't know what Zaya was.

862
00:51:28,800 --> 00:51:31,680
Speaker 1: Of course Fred doesn't bring that up, since.

863
00:51:31,840 --> 00:51:34,000
Speaker 16: It was a meeting and they were talking about it,

864
00:51:34,040 --> 00:51:35,480
Speaker 16: and they were talking about it like it was really

865
00:51:35,480 --> 00:51:36,120
Speaker 16: going to happen.

866
00:51:36,160 --> 00:51:36,360
Speaker 4: You know.

867
00:51:36,920 --> 00:51:40,359
Speaker 1: Now, with the ball fully rolling for Zaire seventy four,

868
00:51:40,640 --> 00:51:43,880
Speaker 1: after Mabutu approves it and Don King and Lloyd Price

869
00:51:43,920 --> 00:51:46,959
Speaker 1: get on board to make it happen, Hugh and Stu

870
00:51:47,520 --> 00:51:51,480
Speaker 1: now must spend the summer working the phones trying to

871
00:51:51,560 --> 00:51:54,920
Speaker 1: convince the biggest names in music to come to a

872
00:51:55,000 --> 00:51:59,040
Speaker 1: soccer stadium in Zaire. That's not all, though, They opened

873
00:51:59,080 --> 00:52:03,080
Speaker 1: an office in high Staff, because they'll also need road crews,

874
00:52:03,239 --> 00:52:06,600
Speaker 1: a soundboard, a lighting set, a stage crew to build it.

875
00:52:07,000 --> 00:52:10,160
Speaker 1: They'll need a small village of people to pull off

876
00:52:10,160 --> 00:52:13,600
Speaker 1: this music festival and to fly them all to Africa.

877
00:52:14,200 --> 00:52:16,879
Speaker 1: They will also need a whole hell of a lot

878
00:52:16,880 --> 00:52:26,880
Speaker 1: of good luck. On the next episode of Rumble, every breath,

879
00:52:27,000 --> 00:52:30,439
Speaker 1: every piece of her chest and heart she gave it off.

880
00:52:30,600 --> 00:52:32,840
Speaker 13: She would come off stage almost ready to collapse.

881
00:52:33,040 --> 00:52:36,480
Speaker 4: It's a concert before the fight, the three day Festival.

882
00:52:36,880 --> 00:52:40,960
Speaker 4: It will make Woodstock look like an elementary school band concert.

883
00:52:41,560 --> 00:52:45,360
Speaker 15: Foreman got off the plane with German shepherds, and the

884
00:52:45,400 --> 00:52:49,320
Speaker 15: German shepherds with the dogs the Belgiums used to control

885
00:52:49,719 --> 00:52:50,840
Speaker 15: the Congolese people.

886
00:52:51,160 --> 00:52:52,520
Speaker 4: I am the Greatest.

887
00:52:52,680 --> 00:52:54,560
Speaker 1: George Foreman is a Belgian.

888
00:52:56,800 --> 00:52:59,880
Speaker 17: Rumbo is a production of School of Humans and iHeart Podcast.

889
00:53:00,760 --> 00:53:03,439
Speaker 17: Rumbell is written and hosted by Zaren Burnett. The third

890
00:53:04,000 --> 00:53:07,840
Speaker 17: produced and directed by Julia Chriscal. Sound designed and scoring

891
00:53:07,920 --> 00:53:13,600
Speaker 17: by Jesse Niswanger. Original music composed by Jordan Manley and T. J. Merritt.

892
00:53:13,960 --> 00:53:19,240
Speaker 17: Series concept by Gary Stromberg. Executive producers are Jason English,

893
00:53:19,520 --> 00:53:24,839
Speaker 17: Sean Titone, Gary Stromberg, Virginia Prescott, L. C. Crowley, and

894
00:53:24,920 --> 00:53:28,840
Speaker 17: Brandon barr Our. Senior producer is Amelia Brock, Production manager

895
00:53:29,040 --> 00:53:33,600
Speaker 17: Daisy Church, fact checker Savannah Hugley. Legal services provided by

896
00:53:33,800 --> 00:53:38,840
Speaker 17: Canoel Hanley PC. Additional production by Claire Keating and John Washington,

897
00:53:39,200 --> 00:53:45,360
Speaker 17: Casting director Julia Christcau. Casting support services provided by Breakdown Express.

898
00:53:45,520 --> 00:53:50,920
Speaker 17: Episode seven cast Anthony Brandon Walker as George Foreman, Abraham

899
00:53:50,960 --> 00:53:56,200
Speaker 17: Amka as Muhammad Ali, Terence Flint as Don King, John

900
00:53:56,360 --> 00:53:57,960
Speaker 17: Washington as news reporter.

901
00:53:58,480 --> 00:54:01,960
Speaker 18: Special thanks to Lewis Aaronna. Check out his book Rumble

902
00:54:02,000 --> 00:54:05,040
Speaker 18: in the Jungle. It's a great resource. Also thanks to

903
00:54:05,120 --> 00:54:09,920
Speaker 18: Jonathan I for his book Ali Alife. And finally thanks

904
00:54:09,920 --> 00:54:13,680
Speaker 18: to Zarenz pops Zeke, who grounds this material like no

905
00:54:13,680 --> 00:54:15,840
Speaker 18: one else. If you like the show, let us know,

906
00:54:16,600 --> 00:54:20,919
Speaker 18: like subscribe, leave five star reviews. It really helps. Also

907
00:54:21,280 --> 00:54:23,279
Speaker 18: check out our show notes for a full list of

908
00:54:23,320 --> 00:54:28,080
Speaker 18: reference materials.