Black Music Sunday: Songs about work and workers for Labor Day weekend
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Black Music Sunday is a weekly series highlighting all things Black music, with over 275 stories covering performers, genres, history, and more, each featuring its own vibrant soundtrack. I hope you’ll find some familiar tunes and perhaps an introduction tBlack Music Sunday: Songs about work and workers for Labor Day weekend
Black Music Sunday is a weekly series highlighting all things Black music, with over 275 stories covering performers, genres, history, and more, each featuring its own vibrant soundtrack. I hope you’ll find some familiar tunes and perhaps an introduction to something new. With Labor Day weekend upon us once again, my musical thoughts turn to the wealth of Black music that has dealt with labor, jobs, and work, as well as Black workers. I admit I get annoyed with political speech-makers who talk about “the working class” as if it is only white. According to data from the 2021 American Community Survey (ACS), the current working class largely works in services, particularly retail, health care, food service and accommodation, and building services, though manufacturing and construction remain large employers as well. Black, Hispanic, and other workers of color make up 45 percent of the working class, while non-Hispanic white workers comprise the remaining 55 percent. Nearly half of the working class is women, and 8 percent have disabilities. I get more than annoyed (I’m actually furious) at the efforts of the current racist-in-chief and his minions to erase enslavement history from our institutions, museums, and schools, given that some of our earliest music came from enslaved people, a subject I covered in “Black people have labored hard since we were dragged here in chains. Here's the music that proves it,” back in 2021. Carnegie Hall’s “Timeline of African-American Music” opens with work songs sung during enslavement, and highlights that segment with a quote from Frederick Douglass: “Slaves are generally expected to sing as well as work. A silent slave is not liked by masters or overseers.” Since the earliest days of slavery, singing has accompanied all kinds of group and individual work activities of African Americans. These improvised songs, known as work songs, field calls (also field hollers) and street calls (also street cries) served many functions. Singing passed the time, coordinated the movements of workers and offered encouragement. They also communicated human emotions and provided a forum for criticizing whites in positions of authority. The Ballad of America website features “Pick a Bale of Cotton: About the Song”: During the time of slavery and beyond, work on the Southern plantation was often enlivened by the singing of work songs. Singing moved the work along faster and made the physical labor and drudgery a little easier to bear. A bale of cotton weighs 500 pounds, which is more than anyone could really pick in a single day. They chose the great Huddie Ledbetter’s rendition. We know him as Lead Belly. x YouTube Video For a deep dive into Black song history, this 50-minute documentary, “Songs of Slavery and Emancipation,” is an excellent starting point. x YouTube Video Songs of Slavery and Emancipation – 2024 Tour This project is more than just a musical endeavor; it’s a vital historical record. It seeks to educate audiences about the deep roots of African American music and its intrinsic link to the struggle for freedom. As author and scholar Robin D. G. Kelley poignantly asks in his essay that opens the book: “What are we to make of the fact that human beings held as property are responsible for America’s greatest cultural and artistic gift to the world?” Understanding the impact of slavery and its abolition is crucial to grasping the formation of the United States and its lasting influence on today’s world. Kali Akuno, executive director of Cooperation Jackson in Mississippi, underscores the significance of this project, stating, “‘Songs of Slavery and Emancipation’ conveys important history that enlivens our collective memory and helps to keep the spirit of resistance strong and moving forward.” Historical documentaries can sometimes feel dry, but Songs of Slavery and Emancipation brings history to life by centering the film around the powerful recordings made for the CD. The documentary not only showcases moving vocal performances but also weaves in personal stories, historical documents, and images. This approach creates a deeply engaging narrative, told through music that resonates with emotion and meaning. In “A professional song selector shares 15 songs of Black women’s empowerment and freedom,” one of the songs that author Korie Enyard selected was “Driva’ Man” by Abbey Lincoln. “Choppin’ cotton don’t be slow Better finish out your row” “This song is a reminder that Black women bore the brunt of the whip just like Black men. Being a woman was irrelevant. Despite being raped, birthing the master’s children, or watching her kids be sold off to other plantations, she still had to finish the work and fulfill her quota.” Here she is performing it with her husband, drummer Max Roach, as part of the «Freedom Now Suite» on Belgian TV in 1964. x YouTube Video Many Black women found employment as domestic workers after Emancipation. The History Matters website states, in “Sadie’s Servant Room Blues”: 1920s Domestic Work in Song: Domestic service was the most common category of employment for women before World War II; it was particularly important for black women, who were excluded from most other occupations. By 1920 some 40 percent of all domestic workers were African American—and more than 70 percent of all wage-earning African-American women worked as servants or laundresses. The struggles of domestic workers were sometimes recorded in songs like Hattie Burleson’s 1928 “Sadie’s Servant Room Blues,” a musical version of common complaints of domestic workers about long hours, low pay, and lack of privacy. Here she is singing “Sadie Servant Room Blues”: Missus Jarvis don't pay me much They give me just what they think I'm worth I'm gonna change my mind, yes change my mind Cause I keep the servant room blues all the time I receive my company in the rear Still these folks don't want to see them here Gonna change my mind, yes change my mind Cause I keep the servant room blues all the time I'm gonna change this here room for a nice big flat Gonna let my friends know where I'm livin' at Gonna change my mind, yes change my mind Cause I keep the servant room blues all the time They have a party at noon, a party at night The midnight parties don't ever break up right Gonna change my mind, yes change my mind Cause I keep the servant room blues all the time x YouTube Video Burleson had a rather notorious history, detailed by Texas music critic and journalist Michael Corcoran on his website. A blues singer who recorded for Brunswick and Paramount and owned the Green Parrot dancehall, Bastrop-born Hattie Burleson was the queen of Deep Ellum in Dallas in the 1920’s. But on Aug. 20, 1919, she looked headed to prison after shooting to death one of Dallas’ most prominent black citizens, Dallas Express founder and editor William Elisha King. According to a front page story in the Aug. 22, 1919 Express, Burleson was driven to the house at 2811 Flora Street where King was recuperating from a streetcar fall. “The lady of the house” was preparing lunch while King, 51, and Burleson talked in the other room. “As their conversation became intensed, the woman drew a .38 calibre pistol from her handbag and shot Mr. King in the chest,” it was reported. The 29-year-old Burleson was identified as King’s former secretary who owned a rooming house at 2516 Swiss Avenue on the same block as the Express offices. There also may have been a romantic relationship. In a May 5, 1942 history of the African-American newspaper, Burleson was described as King’s “female admirer,” but there’s no mention that the killer walked. A recently discovered death certificate indicates that the Hattie C. Burleson who shot King was the future blues singer, who also had the middle initial C. The Express reported that Burleson was from Kaufman County, which is where the singer is buried. Her occupation on the death certificate was “show business.” That’s the career she pursued with passion after she was exonerated in the homicide of King. It’s unknown why she was acquitted, as an arrest affidavit request for the Dallas Police Department found “no responsive documents to your request.” But we can assume the grand jury sided with a claim of self defense by the woman who stood only four and a half feet tall. Another option for women and some men was sex work. Lucille Bogan was an early blues singer who was known for her risque lyrics. Her Blues Foundation bio details her history: Lucille Bogan recorded some of the most memorable blues songs of the pre-World War II era, including some that were landmarks in blues and some that continue to sensationalize her reputation decades after her death. She was the first African-American singer to record blues at a session outside of New York or Chicago when she sang at sessions for OKeh Records set up in a warehouse in Atlanta in 1923, and several of her records were later covered or adapted by various artists who preceded her into the Blues Hall of Fame. But by far the predominant association now made with Bogan is the lewdness of two unexpurgated songs she recorded in 1935 that were not intended for public release. Sexual references were common in blues recording but the proprieties of the day called for them to be disguised in double entendre form. Bogan made a number of those, but presumably, for the entertainment of the recording staff and friends, she used explicit language in “Till the Cows Come Home” and an alternate take of “Shave ’Em Dry” that makes most hardcore rap lyrics seem tame. Though these were “private” recordings, bootleg pressings made their way into circulation and eventually were transferred to legitimate albums in more permissive modern times. Bogan, however, had already long been a favorite among blues collectors and historians for the depth of her talent and recorded repertoire, and was a significant artist in the blues market of the 1920s and ‘30s. She lacked the name recognition of some of her contemporaries because most of her records were released under the pseudonym, Bessie Jackson. Some of her songs embodied controversial themes including prostitution, lesbianism, and—since most were recorded during prohibition—drinking. Some veteran researchers doubt that she lived the rough street life she sometimes sang about, but her lyrics did reflect a familiarity with the underside of polite society. Bogan’s 1923-1935 recordings for OKeh, Paramount, Brunswick, Banner, Melotone, and other labels featured various notable accompanists including Will Ezell, Tampa Red, and Walter Roland. Among her influential records that survived via later artists were the first version of “Black Angel Blues” (later recorded by Tampa Red and Robert Nighthawk, and by B.B. King as “Sweet Little Angel”), “Sloppy Drunk Blues” (Leroy Carr, John Lee “Sonny Boy” Williamson, Jimmy Rogers, and others), and “Tricks Ain’t Walking No More” (Memphis Minnie). Here’s her recording of “Tricks Ain’t Walking No More”: Times done got hard, money's done got scarce Stealin' an' robbin' is goin' to take place 'Cos tricks ain't walkin', tricks ain't walkin' no more I said tricks ain't walkin', tricks ain't walkin' no more An' I'm goin' to rob somebody if I don't make me some dough I'm goin' to learn these walkin' tricks what it's all about I'm goin' to get them in my house and ain't gonna let them out 'Cos tricks ain't walkin', tricks ain't walkin' no more I said tricks ain't walkin', tricks ain't walkin' no more An' I can't make no money, don't care where I go I got up this mornin', with the risin' sun Bin walkin' all day an' I ain't caught a one 'Cos tricks ain't walkin', tricks ain't walkin' no more I said tricks ain't walkin', tricks ain 't walkin' no more x YouTube Video Interestingly enough, Donna Summer’s disco hit about working hard for her money was not about sex work. It was inspired by an encounter with a Black woman who was a restroom attendant. x YouTube Video ‘She Works Hard For The Money’: The Story Behind Donna Summer’s Hit The 1983 single was inspired by an encounter in an unlikely location. “I went to the ladies’ room with my manager [Susan Muneo], and there was a little woman [in there],” Summer explained on US TV show You Write The Songs in 1986. “We peeked around the corner, and there was a little lady sitting there with her head tilted to the side, and she was just gone – she was asleep […] I looked at her, and my heart just filled up with compassion for this lady, and I thought to myself, ‘God, she works hard for the money, cooped up in this stinky little room all night.’” Summer quickly realized she was onto something with that observation, wrote down the future title, and took it to producer Michael Omartian the next day. Together, they came up with the song – the final track to be written for Summer’s 11th studio album. “She works hard for the money, so you’d better treat her right,” the star sang in the chorus and paid tribute to that restroom attendant, Onetta Johnson, in its line: “Onetta there in the corner stand.” Johnson would also be photographed with Summer for the album’s back cover, with both wearing matching waitress outfits. When thinking about Black work songs, one area that has always interested me is the songs about street vendors and their sales cries. This clip is from the Voices in Time channel, which “celebrates the history of American music and culture by presenting archival musical and photographic materials housed in the Library of Congress.” “African American Folk Music (FL): Watermelon Vendor's Street Call” x YouTube Video Labor Day weekend is also a time that folks get together for one last family outdoor gathering and barbecue, and fresh watermelon is always on my Black family’s menu. Herbie Hancock’s “Watermelon Man” has an interesting backstory, detailed in this video from Dave Wave, “The Real Story Behind Herbie Hancock’s Watermelon Man” (which can’t be embedded here, so see YouTube). Los Angeles KCRK radio host Tyler Boudreaux talks about her memories of watermelon men in the Black community and Herbie Hancock’s inspiration, in “Chasing the Watermelon Man.” In the summer of 2023, the jazz-funk groove of Herbie Hancock’s 1973 recording of “Watermelon Man” bounced into my ears and fixed itself on a loop. And it’s actually a reimagination of Herbie’s original version, a hard bop standard from 1962 which you may recognize. Both versions of “Watermelon Man” are highly influential jazz recordings, and they sent ripples of change throughout American music in the 20th century. As a music lover and a DJ, they’re timeless sounds that visit me often, popping up in the hot summertime or when I accidentally blow into an empty beer bottle. It's a rhythm that comes and goes often, like a passing breeze … but this time around, I just couldn’t shake “Watermelon Man.” I was deep in my feelings when I went to Chicago. While I was in town, I paid a visit to my long-distance cousins who live on the South Side. My Chicago family hadn’t seen me since I was a little girl they called Button Nose, and they wanted to host me and celebrate the nomination of my fruit story. I went over to my cousin Sherai Troxler’s house, where all my cousins gathered. And while catching up over cake and mimosas, we captivated each other with fruitful fascinations. Sherai shared that during the long and brutal Chicago winters, she looked forward to the summertime when the family could get together and enjoy a refreshing watermelon. Here's how she recounted it recently: SHERAI TROXLER: Summertime in Chicago is so fleeting that you kinda want to take in everything that's summertime: the heat, the longer days, time out in the park with your family, and watermelon. It just kinda all goes together: barbecues, watermelon, family. Always in the back of my mind is, in July, I'm going to look for the watermelon man, and I'm going to make sure I get watermelons from him all summer. There's something about just getting the watermelons from the watermelon man during that short window of time when we are just enjoying and making the most of that season. I was intrigued by this annual anticipation of the watermelon man, and the needle in my head dropped on Herbie’s “Watermelon Man groove.” I asked her what was so special about the watermelons from the watermelon man, and she shared that it was mainly the nostalgia. Every watermelon season growing up, Sherai remembers going to a watermelon man truck in Chicago with her mother. Here’s Herbie Hancock’s original: x YouTube Video Mongo Santamaria performs it live: x YouTube Video And here’s Jon Hendricks’ version, with his lyrics. x YouTube Video Join me in the comments section below for more, and please post some of your favorites. Enjoy your weekend. Read more