*****Got Them Down-Hearted Blues-With The Empress Of The Blues Bessie Smith In Mind
From The Pen Of Sam Eaton
From The Pen Of Sam Eaton
Sure 1920s guys, gals too, black guys, black gals sweating out their short, brutalized lives on Mister’s 28,000 acres of the best bottomland along the river in Mississippi or some such number of acres, probably it didn't matter to have an official count on the acres to them because all of the land went endlessly to the horizon and the work too had plenty to have the blues about. Had suffered the double whack of having to put up with Mister's Mister James Crow laws to boot which only added to the misery of those endless acres. Sure maybe some woe begotten poor white trash down in hard-boiled Appalachia in those famed hills and hollows had plenty of blues too although they did not call them that even in those few integrated evenings when the whole town went to Rence Jackson's dirty red barn in need of a serious paint job but this is about the blues, the musical blues and not some general social issues commentary. So those “no account” whites don’t play a role here at this time, don't play except as devotes of generic old country British Isles ballads like the ones collected by Francis Child back in the 1850s which thrilled the Brahmins of Brattle Street on a wild utilitarian Saturday night. Actually whites in general don't play a role in the blues since their access to such songs by the likes of the various Blinds, Robert Johnson, and the belting barrelhouse mamas would be minimal in an age when "race" record pieced everybody off into their own tangent. They will not play a role until the music heads north in a generation, or so, and the “white negro” hipsters (to use big daddy Norman Mailer’s term for the little daddies who hung around the back streets of cool, Harlem 125th Street cool at that time), “beats (to use Jack Kerouac term hustled from some dead-pan beat down hustler, a white negro hipster if it came right down to it named Huncke via high brow John Clellon Holmes for Christ sake),” folkies (to use the Lomaxes’, father and son, expression), college students (to use oh I don’t know the U.S. Department of Education’s expression), and assorted others (junkies, grifters, midnight sifters, drifters on the wing, winos trying to sober up, good time prostitutes, the denizens of Hayes-Bickford's, the Automat, places like that, no hip as a rule) decided that that beat in their heads had Mother Africa who spawned us all had to be investigated but all that indeed was later.
Like I said the real blues aficionados, if only by default, had their say, had their lyrics almost written for them by the events of everyday human existence what with talking in their own "code words" about how Mister and his Mister James Crow laws fitted him, Mister, and his just fine at the expense of those black guys, their women and their righteous children (righteous when they, his children and their children smote the dragon come freedom summer times, come Mississippi and Alabama too goddamn times but that is a story for their generations to tell I want to talk about the great-grand pa’s and ma’s and their doings).
Like I said the real blues aficionados, if only by default, had their say, had their lyrics almost written for them by the events of everyday human existence what with talking in their own "code words" about how Mister and his Mister James Crow laws fitted him, Mister, and his just fine at the expense of those black guys, their women and their righteous children (righteous when they, his children and their children smote the dragon come freedom summer times, come Mississippi and Alabama too goddamn times but that is a story for their generations to tell I want to talk about the great-grand pa’s and ma’s and their doings).
Here is how the scene played out as near as I can figure from a wide-ranging reading of most of the lyrics from that time (and always remember when you speak of "blues," speak of the folk in general this is mostly an oral tradition handed down and bastardized as it gotten handed down so there are very few definitive lyrics but rather more a sense of what miseries were being talked about. How Mister James Crow said every day of the week, even the Lord’s Day, Sunday that if you were black, get back, if you were white and right you were alright and proved it by separate this and separate that, keeping his street clear of stray “negros,” yeah, with small “n” if he was being kind that day, another today socially not acceptable expression if not, telling the brethren to go here, not go there, look this way but not that (and by all means not peeking at his womenfolk), walk there but not here, or face nooses and slugs for his troubles.
So yeah the blues almost cried out to be the order of things. Working all day for chump change in Mister’s fields or worse share-cropper-ing and having Mister take the better portion and leaving the leavings he didn’t want, meaning what he couldn’t sell to his profit as the rest.
So yeah the blues almost cried out to be the order of things. Working all day for chump change in Mister’s fields or worse share-cropper-ing and having Mister take the better portion and leaving the leavings he didn’t want, meaning what he couldn’t sell to his profit as the rest.
Yeah, so there is no way that black guys could not have had the blues back then except some old nappy Tom who didn’t get the word but they were far fewer than you might think the others just fumed at who knows what psychic costs (now too but that in dealt with by the step-child of the blues, maybe second step-child via in your face if there is space hip-hop nations, the angry ones who put words to the rages of the modern “post racial” American society that somebody has jerked them around with lately). Hey and to Mister’s miseries, very real, very scary when the nightriders came, woman trouble (maybe at night the worse kind of trouble if Mister wasn’t in your face all day with her where you been, do this, do that, put it right here, put it right there), trouble with Sheriff Law (stay off the sidewalks, keep your head down, stay down in the bottom lands or else) and trouble with Long Skinny Jones if you mess with his woman, get your own (or face his razor and gun down on Black Mountain).
Plenty of stuff to sing about come Saturday night after dark at Smilin’ Billy’s juke joint complete with his home-made brew, freshly batched, which insured that everybody would be at Preacher Jack’s Sunday service to have their sins, lusts, greeds, avarices, covets, swaggers, cuts, from the night before (or maybe just minutes before) washed clean under the threat of damnation and worse, worse for listening to the “devil’s music” (funny because come the white rock and roll teen explosion a generation later Mister, some Mister, said that too was the devil’s music which confused those clean cut angelic angst-filled teens although not enough to stop listening to Satan and his siren song) by a guy like Charley Patton, Son House (who had the worst of both worlds being a sinner, loving his whiskey more than somewhat which Howlin’ Wolf took him to task for down in Newport one year in the early 1960s at a jam session, and a preacher man), Lucky Quick, Sleepy John, Robert J, and lots of hungry boys who wanted to get the hell out from under Mister and his Mister James Crow laws by singing the blues and making them go away.
That’s the guys, black guys and they had a moment, a country blues moment back in the 1920s and early 1930s when guys, white guys usually as far as I know, from small label record companies like Paramount, RCA, the radio company looking to feed the hours on their stations with stuff people would listen to (could listen to in short wave range times and hence regional roots work). They were agents who were parlaying two ideas together getting black people, black people with enough money (and maybe a few white hipsters, Village, North Beach, Old Town denizens tired of the same old, same old if they were around and if they were called that before the big 1950s “beat” thing), buy, in this case, “race records,” that they might have heard on that self-same radio, nice economics, scoured the South looking for talent and found plenty in the Delta (and on the white side of that same coin plenty in the Southern hill-billy mountains, and hills and hollows too).
But those black blues brothers were not what drove the race label action back then since the rural poor had no money for radios or records for the most part and it was the black women singers who got the better play, although they if you look at individual cases suffered under the same Mister James Crow ethos that the black guys did. There they were though singing barrelhouse was what it was called mostly, stuff with plenty of double meanings about sex and about come hither availability and too about the code that all Southern blacks lived under. And the subjects. Well, the subjects reflected those of the black guys in reverse, two-timing guys, guys who would cut their women up as soon as look at them, down-hearted stuff when some Jimmy took off with his other best girl leaving her flat-footed, the sins of alcohol and drugs (listen to Victoria Spivey sometime on sister cocaine and any number of Smiths on gin), losing your man to you best friend. Some sound advice too like Sippy Wallace’s don’t advertise your man, and some bad advice about cutting up your no good man and taking the big step-off that awaited you, it is all there to be listened to.
And the queen, the self-anointed queen, no, better you stay with the flow of her moniker, the empress, of barrelhouse blues was Bessie Smith, who sold more records than anybody else if nothing else. But there is more to her claim than mere record sales since she left a treasure trove of songs, well over two hundred before her untimely early death in the mid-1930s (untimely in the Mister James Crow South after an car accident and they would not admit an empress for chrissakes into a nearby white hospital, yes, rage, rage against the night unto the nth generation-black lives matter).
Guys, sophisticated guys, city guys, black guys mainly, guys like Fletcher Henderson, Tin Pan Alley kind of guys in places like high holy Harlem and Memphis, Saint Louis would write stuff for her, big fat sexy high white note sax and chilly dog trombone players would back her up and that was that. Sure Memphis Minnie could wag the dog’s tail with her lyrics about every kind of working guy taking care of her need (and you know she needed a little sugar in her bowl just like Bessie and a million, million other women, and a quick listen to any of a dozen such songs will tell you what that need was or you can figure it out and if you can’t you had better move on), the various other Smiths could talk about down-hearted stuff, about the devil’s music get the best of them, Sippy Wallace could talk about no good men, Ivy Stone could speak about being turned out in the streets to “work” the streets when some guy left town, address unknown, and Victoria Spivey could speak to the addictions that brought a good girl down but Bessie could run it all.
From down-hearted blues, killing her sorrows with that flask of gin, working down to bed-bug flop houses, thoughts of killing that no good bastard who left her high and dry, seeing a good Hustlin’ Dan man off to the great yonder after losing that bout with TB coughing, blowing high and heavy in the thick of the Jazz Age with the prince of wails, looking for a little sugar in her bowl, and every conceivable way to speak of personal sorrows.
From down-hearted blues, killing her sorrows with that flask of gin, working down to bed-bug flop houses, thoughts of killing that no good bastard who left her high and dry, seeing a good Hustlin’ Dan man off to the great yonder after losing that bout with TB coughing, blowing high and heavy in the thick of the Jazz Age with the prince of wails, looking for a little sugar in her bowl, and every conceivable way to speak of personal sorrows.
Let me leave it like this for now with two big ideas. First if you have a chance go on YouTube and listen and watch while she struts her stuff on Saint Louis Woman all pain, pathos and indignity as her good man throws her over for, well, the next best thing. That will tell you why in her day she was the Empress. The other is this-if you have deep down sorrows, some man or woman left you high and dry, maybe you need a fixer man for what ails you, you have deep-dyed blues that won’t quite unless you have your medicine then you have to dust off your Billie Holiday records and get well. But if the world just has you by the tail for a moment, or things just went awry but maybe you can see the light of day then grab the old Bessie Vanguard Record or later Columbia Record multiple albums (four double record sets from beginning to end) and just start playing you won’t want to turn the thing off once Bessie gets under your skin.
That’s what I done more than once when I was down on my luck living in flea-bitten rooming house in a cold-water flat with me and my bed, bureau, desk and chair and a battered old RCA record player and just let it wail, let the fellow stew-ball tenants usually behind on their rents anyway howl against the night. Bessie was on the square.
That’s what I done more than once when I was down on my luck living in flea-bitten rooming house in a cold-water flat with me and my bed, bureau, desk and chair and a battered old RCA record player and just let it wail, let the fellow stew-ball tenants usually behind on their rents anyway howl against the night. Bessie was on the square.
Iyad Burnat is the coordinator for the Popular Committee in Bil'in, Palestine. For 10 years, Iyad and the Popular Committee of this small village have held weekly non-violent demonstrations against the confiscation of their land. They have repeatedly been met with violence by the Israeli military. Iyad is coming to the Boston area to describe what life is like under Israeli occupation, his village's ongoing struggle for justice and freedom, and what inspires him to continue non-violent resistance.
