Photo by hinnk via Wikimedia Commons
ESG
ESG
One of the most influential acts in American popular music began when two sisters hatched a plan to escape the housing projects of the Bronx. By 1972, the borough—suffering under an official policy of “benign neglect” (a policy that Nixon advisor Daniel Patrick Moynihan recommended for communities like the Bronx)—was marked by disinvestment, white flight, and a glut of vacant buildings. It was within this troubled environment that Renee and Valerie Scroggins started talking about forming a band. “I just wanted to get out of the projects and buy a house for my mother,” explains Renee when pressed on the origins of the band that would become ESG.
The Bronx of the 1970s was, according to Renee, “a mess.” Yet one of the unintended consequences of living under a policy of benign neglect is that no one really cares what you do. Such lack of attention allowed for the Scroggins sisters to draw from a myriad of cultural influences as they started to write songs. The sisters would draw from the likes of James Brown, the Supremes, and Martha & the Vandellas, as well as the emerging genres of punk and hip-hop, as they crafted a sound that was entirely their own.
The influential New York-based label 99 Records released ESG’s eponymous debut in 1981. The stripped-down, funky sounds of songs like “Moody” and “U.F.O” would go on to inspire countless performers, including LCD Soundsystem, Robyn, and Crowded House. At the same time, “U.F.O.” has been sampled by such hip-hop acts as the Beastie Boys, Wu-Tang Clan, and MF Doom. ESG would continue to release records over the next forty years. Even if you do not think you have ever heard ESG, you have probably heard ESG.
No Boundaries
The world of popular music in the early 1980s was marked by rigid boundaries between genres. This was particularly the case when it came to genres that could be described as “urban”—shorthand for music made by Black artists. ESG had little interest in adhering to such boundaries and, in the process, set the template for future acts that intentionally blurred genre lines, often to greater fanfare. ESG, explains Renee, “were ahead of the curve, mainly because we insisted on doing music in our own style and fashion.” ESG was not concerned with what was cool or hip at the moment. Instead, as Renee explains, the band was motivated by one overarching idea: “We just want to make the world dance!”
Such a sentiment underscores ESG’s belief that the best music is inherent inclusive. “My philosophy,” notes Renee, “has always been that there is a place in music for everybody.” This philosophy is why Cactus Club owner Kelsey Kaufmann tapped ESG to headline a fundraiser for the club’s recently announced Accessibility Initiative. This endeavor seeks to build new opportunities for emerging artists – through a new residency program – while also building the physical infrastructure to make the Cactus Club itself Americans with Disabilities Act (ADA) compliant.
For Renee, such infrastructure is incredibly valuable, as “it is a necessity that all of us can get inside a space to enjoy music and art. I am so very happy that the Cactus Club has taken the initiative to have a fundraiser, so that the venue can provide accessibility to all that need it.” Great songs and a great cause – what else could a music fan ask for?
Friday, Aug. 30 at Cactus Club with Clickbait, Diamond Life, DJ Christreater. Tickets are $150 for the all-ages show. For more information, visit cactusclubmilwaukee.com.
