The Enduring Meaning Behind Marvin Gaye’s Signature Hit “What’s Going On?”
In the heart of 1971, the airwaves were graced by the profound melodies of what many regard as Marvin Gaye’s crowning achievement. Remarkably crafted in just 10 days, “What’s Going On” wasn’t just another song on the charts. Upon its release, it soared, capturing the top spots on both the R&B and pop charts and ensuring the album became a commercial titan, selling over two million copies and steadfastly gracing the charts for over a year. This work stands as the best-selling album of Gaye’s illustrious career. Beyond its commercial success, the song carries a profound meaning, delving into Gaye’s fervent social and environmental apprehensions. For those familiar with its lyrics, the resonance is unmistakable, but for the uninitiated, this piece stands as a deep dive into the meaning of an anthem that has, for over half a century, continued to challenge and inspire.
Deep Roots in the ’70s Social Fabric
A masterpiece arising from the golden age of soul music, “What’s Going On” wasn’t just a chart-topper. It was a reflection, a mirror held up to a society in turmoil. It questioned the Vietnam War, highlighted environmental degradation, and pointed to systemic racism and economic disparities. The masterwork captures the spirit of the early 1970s, highlighting a period marked by activism, civil unrest, and a passionate call for change.
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The Vietnam War was at its height, and many young American men of every color were being drafted, sent overseas, and returned in coffins. The pain and suffering of the war led Gaye to question, “Brother, brother, brother, there’s far too many of you dying.” These lyrics now, in the wake of movements like Black Lives Matter, still resonate deeply with African Americans.
Writer of the Song
While Marvin Gaye is the primary vocalist and is often associated with writing “What’s Going On,” the songwriting credits are actually shared between Al Cleveland and Marvin Gaye. The song’s inception began with Cleveland, but it was with Gaye’s input that it evolved into the iconic track we know today. Gaye’s personal experiences, especially stories from his brother Frankie who had returned from the Vietnam War, added depth and emotion to the lyrics.
Impact of the Song
The song hit the sweet spot of both commercial triumph and critical acclaim. It quickly soared to an impressive second place on the Billboard Hot 100 and then proceeded to take the top spot on the R&B charts. However, its impact went way beyond just numbers and positions. It marked a turning point in the journey of Motown’s musical style, proving that songs carrying meaningful social messages could also find a place in the hearts of the masses. The song’s significance doesn’t fade with time; its themes touching on war, racism, and environmental concerns keep on striking a chord with people, crossing generational boundaries.
Several artists have covered “What’s Going On,” including Cyndi Lauper, Chaka Khan, and Los Lobos, demonstrating its lasting appeal and influence across different genres and generations. These renditions have not only celebrated the original but have also added unique interpretations, ensuring that Marvin Gaye’s anthem remains fresh and relevant in contemporary times.
The Depth Behind Gaye’s “What’s Going On”
One might be surprised to learn that before launching his legendary solo career, Gaye was part of a boy band called The New Moonglows in the 1950s, performing alongside giants like Chuck Berry. This foundation in collaboration perhaps played a role in Gaye’s ability to create music that spoke to and for the masses, giving “What’s Going On” its universal appeal.
Digging deeper into Gaye’s personal experiences offers even more context to the profound depth of “What’s Going On”. The death of singer Tammi Terrell, with whom he performed legendary duets like “Ain’t No Mountain High Enough,” nearly ended Gaye’s career. The profound grief and introspection following Terrell’s passing resonated with the deep emotional undercurrents present in “What’s Going On.” Moreover, Gaye’s documented struggles, including his battles with depression and substance abuse, underscore the song’s poignancy. When he sings about societal struggles and cries out for understanding, it’s evident that Gaye’s plea is as personal as it is societal.
Another pivotal aspect of Gaye’s life that intertwines with the song is his tenure in the U.S. Air Force. Joining at the young age of 17 and subsequently being honorably discharged, Marvin had firsthand exposure to military life, an experience that certainly influenced the anti-war sentiments of “What’s Going On.” As the world listened to the song’s evocative plea, it was coming from a man deeply familiar with the inner workings of the very institution he questioned.
Lyric Analysis: “What’s Going On” by Marvin Gaye
Father, father
We don’t need to escalate
You see, war is not the answer For only love can conquer hate You know we’ve got to find a way To bring some lovin’ here today
Verse 1:
Starting with the lines, “Father, father, We don’t need to escalate,” Gaye directly addresses authority figures — likely referencing both parental figures and broader societal authority. The mention of “escalate” is particularly resonant, as it draws attention to the intensifying Vietnam War during the time Gaye wrote this song. Yet, his message is universal, emphasizing that conflict and aggression aren’t solutions. You see, war is not the answer, For only love can conquer hate underscores Gaye’s belief in the power of love to overcome societal challenges, highlighting the overarching theme of the song.
Picket lines and picket signs (sister, sister) Don’t punish me with brutality (sister, sister) Talk to me (sister)
So you can see (sister)
Oh, what’s going on (what’s going on) What’s going on (what’s going on) What’s going on (what’s going on) What’s going on (what’s going on)
Verse 2:
Further along, “Picket lines and picket signs” conjures imagery of protests and civil unrest — elements that were ubiquitous during the civil rights movement and Vietnam War protests. The plea, Don’t punish me with brutality, underscores the tumultuous relationship between authorities and citizens, particularly highlighting the struggles of African Americans facing police brutality. It’s a haunting reminder of the repeated cries for justice that still echo in contemporary protests. The repeated line Talk to me, So you can see urges dialogue, emphasizing the importance of communication in bridging divides. This theme of understanding is further emphasized in the chorus’ simple but poignant question, “What’s going on?” — a cry for clarity, empathy, and action.
The Final Note:
Over five decades have elapsed since the debut of “What’s Going On,” yet its profound impact endures, resonating as authentically as ever. This timeless masterpiece seems irreplaceable, its influence transcending eras. Gaye’s composition stands as a poignant testament to music’s remarkable ability to forge profound emotional, intellectual, and even therapeutic connections. It possesses the unique power to unify us. The initial chords and irresistible chorus continue to serve as symbols of Gaye’s yearning for a brighter future.
Regardless of whether you’re an avid soul music enthusiast or simply someone maneuvering through the complexities of modern existence, take a pause. Engage with Gaye’s enduring melody, immerse yourself in its profoundness, and let it ignite a spark within you. As Marvin Gaye rather simply put it, “Love, baby, love. That’s the only way.” And just maybe… through empathy and collective effort, we’ll find the answer to his timeless query, “What’s Going On?”
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Photo by David Redfern/Redferns
Barbara Mandrell Retired From Music at 18 — One Night at the Grand Ole Opry Changed Her Mind
Long before Barbara Mandrell became one of the biggest stars in country music, she had already decided her music career was over.
She was only 18.
That decision sounds almost impossible in hindsight.
Because Barbara Mandrell had been preparing for the stage practically since childhood.
Born in Houston on Christmas Day in 1948, she learned accordion and how to read music before entering first grade. After her family moved to California, she began studying steel guitar at about ten years old while also learning saxophone at school.
Then someone important noticed her.
Country guitarist Joe Maphis saw the young Mandrell performing at a music trade convention in 1960.
He was impressed enough to bring her into his Las Vegas act.
Barbara was still a child, yet she was already sharing a musical world populated by professional country performers.
Before long, she appeared on the Los Angeles television program Town Hall Party and joined a national package tour headlined by Johnny Cash.
By 14, she was performing with her family band at military bases in the United States and Asia. Country Music Hall of Fame and Museum
It looked as though music had already chosen her.
Then Barbara walked away.
She had fallen in love with Ken Dudney, the drummer in the Mandrell family band.
Dudney eventually joined the Navy and trained as a pilot.
The couple married in 1967.
Barbara decided that was enough.
At 18, she retired from music.
For someone who had spent much of her childhood performing, it was an extraordinary choice.
But the retirement did not last.
When Dudney was away with the Navy, Barbara visited her family in Tennessee.
One evening, she attended a taping of The Porter Wagoner Show before the Grand Ole Opry.
As Barbara watched the performers, something came back.
She leaned toward her father, Irby Mandrell.
She told him she could do what she was watching onstage.
More importantly, she wanted to do it again.
She asked whether he would manage her.
Her father believed in her.
The decision made that night changed everything. Country Music Hall of Fame and Museum
Barbara soon signed with Columbia Records.
In 1969, she entered the Billboard country chart with her version of Otis Redding’s “I’ve Been Loving You Too Long.”
More hits followed.
By 1972, she had joined the Grand Ole Opry — the same institution connected to the night that helped convince her to return.
Then the career accelerated.
“Sleeping Single in a Double Bed” reached No. 1.
Her version of “If Loving You Is Wrong (I Don’t Want to Be Right)” also topped the country chart.
But Mandrell was becoming more than a recording artist.
She could sing.
She could dance.
She could play multiple instruments.
And onstage, she could move between traditional country, pop, soul, gospel, and show-business spectacle without losing her identity.
By the beginning of the 1980s, Barbara Mandrell was everywhere.
From 1980 to 1982, she starred with her sisters Louise and Irlene on NBC’s Barbara Mandrell and the Mandrell Sisters, bringing country music into millions of American homes every week.
And the industry recognized what was happening.
The Country Music Association named Mandrell Entertainer of the Year in 1980.
Then she won again in 1981.
She became the first artist in CMA history to win the award in consecutive years. Country Music Hall of Fame and Museum
That same period produced the song that would become inseparable from her name.
“I Was Country When Country Wasn’t Cool.”
The song looked back at a time when openly loving country music was not always fashionable.
Then country culture exploded into the American mainstream.
George Jones appeared on the recording, and the song became another No. 1 country hit for Mandrell
The title almost seemed to describe Barbara herself.
She had been playing steel guitar as a child long before television superstardom.
She had toured before she was old enough to drive.
She had quit.
She had started again.
And she had reached the top.
Her life would still bring serious challenges.
In 1984, a devastating automobile accident left Mandrell with multiple injuries and required a long recovery.
Yet she returned again, continuing to record, tour, and act before eventually retiring from performing in 1997. Country Music Hall of Fame and Museum
In 2009, Barbara Mandrell was inducted into the Country Music Hall of Fame.
It was a remarkable ending to a story that could easily have stopped decades earlier.
At 18, Barbara Mandrell thought she was finished with music.
Then she sat in an audience in Nashville and watched other performers doing what she had once done.
Something inside her changed.
She told her father she wanted another chance.
He believed her.
And the young woman who had retired before her career truly began eventually became one of country music’s defining entertainers.
