Ebony and Ivory by McCartney and Stevie Wonder (1982)

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Ebony and Ivory Cover

Ebony and Ivory is a single released by Paul McCartney and Stevie Wonder on 29 March, 1982. The single reached number one in both UK and the US charts as well as becoming the top-selling singles of 1982 in the United States. Ebony and Ivory, written by McCartney, is a song with a theme of racial harmony that aligns the black and white keys of a piano keyboard.

During the apartheid era, the Sout African Broadcasting Corporation banned the song after the Academy Award for Best Original Song to Nelson Mandela was dedicated to Wonder in 1984. [1]

Paul McCartney and Stevie Wonder

Black Empowerment

Though the song is about white and black keys on a piano, Ebony (black) and Ivory (White) also deals with integration and racial harmony. McCartney inspired the title when hearing Spike Milligan says, "Black notes, white notes, and you need to play the two to make harmony, folks!" [2]

A friendly contemporary music, cannot solely solve the racial tensions. However, at least, this can raise awareness to public about the problem.

“When I wrote the song, I thought, ‘Maybe we don’t need to keep talking about black and white. Maybe the problem is solved… Maybe I’ve missed the boat. Maybe it should’ve been written in the ’60s, this song.’ But I after I’d written it and recorded it, you look around, and, you know, there’s still tension.” says McCartney talking about the racial tensions. [3]

According to The Hollywood Reporter, Wonder touched by the song because of its message of racial equality, “I listened to the song, and I liked it very much. … it was positive for everybody. I won’t say it demanded of people to reflect upon it, but it politely asks the people to reflect upon life in using the terms of music … this melting pot of many different people.” [4]

Part of lyrics from Ebony and Ivory performed by Paul McCartney and Stevie Wonder about racial harmony:

Ebony and ivory

Live together in perfect harmony

Side by side on my piano keyboard

Oh lord, why don't we? [5]

References