Fascinatin' Rhythm; Early Black Songwriters; Part 1

National broadcast of Fascinatin' Rhythm is made possible by the members of WXXI FM in Rochester, New York. [music] This is Fascinatin' Rhythm songs from the Golden Age of American song, I'm Michael Lasser. By 1910, Blacks had disappeared from Broadway and were virtually invisible along Tin Pan Alley. [?Eubie] Blake and Noble Cecile's landmark musical shuffle along restored them to notice in 1921. And the years that followed saw the reemergence of important Black songwriters and performers on the stage. Many of the casts were still segregated, but at least some Black performers were working. Based on this briefest of histories it's easy to see why an earlier generation of Black songwriters from before shuffle along has virtually disappeared.

Their names are unfamiliar to us, yet we still sing many of their songs. Their achievement was significant in the face of the obstacles they faced. It was also significant because they wrote good songs and because they contributed in major ways to America's absorption of Black rhythms and Black language into popular music. For the next hour then rediscover Bob Cole, James Weldon Johnson, Will Marion Cook and the other forgotten Black songwriters of the early years of the 20th century. None of the early Black songwriters was more important than composer Bob Cole, who collaborated with the lyric writing brothers James Weldon Johnson and James Rosemann Johnson. In 1901 T]they transformed the spiritual "Nobody knows the trouble I've seen" into one of the biggest sellers of its day. These are the David Dusing Singers with "Under the Bamboo Tree". [Music] Down in the jungles lived a maid of royal blood though dusky shade. A marked impression once she made from [Music] Matabooloo and every morning he would be down underneath the bamboo tree a waitin' there his love to see. And then to her he's [Music]

sing. [Music] If you like-a me, like I Iike-a you [Music] you and we like-a both the same. I [Music] I like-a say this very day, I like [Music] I like-a change your name. 'Cause [Music] I love-a you and lov-a you true and if you- [Music] if you-a love-a me. One [Music] live as two, two live as one. Under [Music] the bamboo tree. And [Music] And in this simple jungle way, He wooed the maiden everyday, by singing what he had to say; One day he seized her and gently [Music]

gently squeezed her; and then beneath the bamboo green, He begged her to become his queen; the dusky maiden blushed unseen [Music] And joined him in his song. If you [Music] like-a me, like I like-a you and we like-a both the same [Music] I like-a say this very day, I like- [Music] like-a change your name. 'Cause I love-a you and lov-a you true and if you-a love-a me. One [Music] One lives as two, two lives as one. Under the bamboo tree. This little [Music]

This little story strange but true, [Music] Is often told in Mataboo, Of how this Zulu tried to woo [Music] His jungle lady in tropics shady; [Music] Although the scene was miles away, [Music] Right here at home I dare to say, You'll hear some Zulu [Music] Zulu ev'ry day, gush out his [Music] soft refrain. If you like-a me, like I like-a you and we like-a both the same, I like-a say this very day, I [Music] like-a change your name. 'Cause I love-a you and lov-a you true and if you-a love-a me. One [Music]

One lives as two, two lives as one. Under the bam- [Music] bamboo tree. One lives as two, two lives as one. Under [Music] the bamboo tree. [Music] The David Dusing Singers with "Under the Bamboo Tree". Cole wrote for early Black musicals at the turn of the century, and he and the Johnson brothers teamed up in Vaudeville, they refused to appear as typical Black comic types, though - dressed in outlandish clothes and wearing black makeup. Instead, they dressed in tuxedos and sang many of their own songs, including from 1904, Gimme the Leavin's, again, the David Dusing Singers. I [Music]

I've never had exactly what I like to have in life. Although I think I've had my share of trouble and loves cry. I've never had a [Music] -a chance to see the things I like to see. Some have a good things or all not before they get to be. [Music] Go stronger, I reach for my thing the further it get [Music] "gets off. The harder [inaudible] are looked for me what lovers get soft, so" [Music] So in the future if a good thing comes along my way, and than as usual pass me by I'm simply going to say; gimme a leavin' when [Music]

When you got through. Just gimme the leavin and that will do. [Music] "My [inaudible] were not a little bit [inaudible] smaller my little bit" [Music] and it seems to grow. I gots now I don't look for no more. Then the leavin's [Music] One might I put my best clothes on and went to see [Music]

see my gal. I [Music] I took a box of candy as a present [Music] present for my Stall. I thought about the pleasant time there was a time for me in Stall. [Music] A huggin' and a kissin' [Music] and a kissing more and more. [Music] When I got there, I thought I'd give my Dad a big surprise [Music] so I slipped right in through the door, [Music] and there before my eyes, I saw [Music] I saw her just a huggin' and a kissin' [Music] my friend Ned. I dropped the candy on the floor and mourned for the [Music] I said, give me the leavin's when you get through. Just give me the leavin's and that will do. Man wants what he will never get, here we go. Smarter [inaudible] I gots what now I don't look for no mo- the leavin's [Music] I got so now I don't look for no more. Then the leavin's [Music]

The David Dusing Singers with "Gimme the Leavin's". The most important early Black composer for Broadway, was Will Marion Cook, who often collaborated with the Black dialect poet Paul Laurence Dunbar. Many of these songwriters wanted to free Blacks from the grotesque stereotypes created by the minstrel shows of the 19th century. They worked to create more sympathetic, more realistic characters for white audiences. In 1902, Cook and Dunbar wrote a successful musical called "In Dahomey" in 1927 to recapture the feel of earlier American music. Jerome Kern borrowed the show's title song for "Showboat". This is Cook and Dunbar's "In Dahomey". [Music] In 1913, 10 years after "In Dahomey", Cook and Dunbar

wrote an important Black dialect song called "Darktown Is Out Tonight." We'll find the song's lyric disturbing, especially when we consider that its writers were Black, but to a white audience used to the minstrel shows depiction of Blacks as irresponsible children, this was a step forward. Danny Barker with "Darktown is Out Tonight." [Music] Hear that sound. Come on, Gal, China's premier. [Music] Take me home, what's the home needn't be afraid. [Music] That old man wants that man coming down the line. [Music] That old coon. How to too long and sweet time. [Music] How to do hope that you enjoy yourself and mens. Reckon [Music] best got that dress off Miss Lewis' fence. [Music] Clear the path. Need'n laugh, that'll be all right. [Music]

White folks, you got no show. [Music] This is Darktown Night. And there will be one coons [Music] of prancing. Swell coons that dancing. Tough coons [Music] who want to fight. So bring long [Music] your blazers. Fetch out your razors. Darktown is [Music] is out tonight. [Music] And there will be one coons of prancing. Swell coons that dancing. Tough coons who want to [Music] to fight. So bring long your blazers. Fetch out your your razors. Darktown is out tonight. [Music] Watch that, pal. [Music] They don't care how they live to be. Braces me, Judas said [Music] "Never could be beat". [Music] What's that like? I surprise reckon she can't come. [Music] Never know how so slow join in [Music]

in the fun. Beyond us lies [Music] What a size. What you expect to do. Need'n grin. She [Music] can't win. Thought she'd walk with you. Bless the lamb. [Music] How come Sam with come round up too. Nows the time [Music] get in line. [Music] Show what you can do. And they'll be one coons of [Music] prancing. Swell coons of dancing. Tough coons who [Music] want to fight. So bring on your blazers. Fetch [Music] out your razors. Darktown is out [Music] tonight. [Music] Everyone hunting fun, know Darktown's the place [Music] cased with coons and buffoons, that ain't no disgrace. [Music] Never mind for the time coming mighty soon. When [Music] the best actress wannabe singing coon [Music] it long for song mighty sweet to hear and old darken [Music]

man sound to grand. Make you feel so queer. [Music] Now the time get in line. [Music] We ain't here to fight. [Music] What's the use of abuse? [Music] Darktown is all right. And they'll be [Music] one coons of prancing. Swell coons of dancing. Tough [Music] coons who want to fight. So [Music] So bring long your blazers. Fetch out your razors. Darktown [Music] Darktown is out tonight. Darktown is out tonight. Darktown is out tonight. Darktown is out tonight. And there'll [Music] be one coons of prancing. Swell coons [Music] of dancing. Tough coons [Music]

of want to fight. So [Music] So bring long your blazers. Fetch out your razors. [Music] Darktown is out tonight. [Music] And there'll be one coons of prancing. Swell coons of dancing. [Music] Tough coons who want to fight. [Music] So bring long your blazers. Fetch out your razors. [Music] Darktown is out tonight. Darktown is out tonight. [Music] Danny Barker with "Darktown is Out Tonight". In the 1920s, Ethel Waters was the first successful Black performer to become a star with white audiences. During those years, she recorded one of Will Marion Cook's later songs. Typical of many songs of its time it describes a lonely Black person who's gone north and longs to return

home. Ethel Waters sings "I'm coming Virginia." [Music] Stop the traffic to D.C.. [Music] Hold it right at the line. [Music] I don't want nothing betwixt me [Music] and that old hole of mine. [Music] I'm so homesick and [Music] lonely. Every hour seems [Music] a day, but there is one and one [Music]

only understands when I say [Music] I'm coming Virginia. I'm [Music] I'm coming to stay, [Music] don't hold it against me. [Music] For running away, [Music] I have tried to forget you [Music] and found I was wrong. [Music] 'Neath your bright southern moon [Music] once more I'll croon. [Music] An dear old. [Music] familiar tone. And if I can win ya [Music] I'll never more roam; [Music] I'm comin' Virginia, [Music] My Dixie- [Music]

Dixieland home. [Music] I'm comin' Virginia. [Music] I'm comin' to stay; [Music] Dont hold it agin me [Music] for runnin' away. [Music] I've tried to forget you [Music] and found I'm all wrong [Music] (and found I'm all wrong) 'Neath your southern moon [Music] Once more I'll croon. An dear old [Music] familiar tone. And if I can win ya, [Music] I've never more roam. [Music] I'm comin' Virginia. [Music] My Dixieland home. My [Music] Dixieland home. [Music]

Ethel Waters with "I'm Comin' Virginia". White audiences bought the sheet music to Chris Smith's most popular song, perhaps not even knowing the writer was Black. Like a lot of other composers, he often wrote ragtime songs about popular dances. Here are two of his songs, Eddie Howard with a later recording "A Ballin' the Jack" and Carol Lee with "Those Cake Walkin' Babies from Home". -Home". [Music] Oh first [Music] First you put your two knees close up tight, then you sway- [Music] sway 'em to the left, then you sway 'em to the right, step [Music] around the floor kind of nice and light. Then you twist around [Music] and twist around with all your might. [Music] Then you stretch your lovin' arms straight out into space. [Music] Then you do the Eagle Rock with style and grace. [Music]

Swing your foot way 'round, then bring it back. [Music] Now that's what I call Ballin' the Jack. [Music] First you put your two knees close up tight, then [Music] Then you sway 'em left, and then you sway 'em to the right. Step around the floor kind of nice and light. [Music] And then you twist around and twist around with all your- [Music] your might. Stretch your lovin' arms straight out in- [Music] in space. Then you do the Eagle Rock with a style and grace. [Music] grace. Swing your foot way 'round, then you bring it all back. [Music] back. Now- [Music] Now that's what I call Ballin' the Jack. [Music] Swing your foot way 'round, then bring it back. [Music] Now that's what I call Ballin' the Jack. [Music]

Now that's what I call Ballin' the Jack. [Music end and changes to new song] Cake walkers may come, cake walkers may go but I wanna tell you 'bout [Music] 'bout a couple I know. High steppin' pair [Music]

pair, steady there (or Debonair). When it comes for bus'ness not a soul [Music] soul can compare. Here they come (oh here they come), Look at 'em [Music] syncopatin'. Goin' some (they goin' some), ain't [Music] Demonstratin'. Talk of the town. They easin' 'round [Music] They're pickin' 'em up and layin' ' em down. [Music] They're dancin' fools (what dancin' fools). Ain't they demonstratin' [Music] They're in a class of their own! Well, the [Music] only way you can win is to cheat 'em. You may tie 'em [Music] but you'll never never never beat 'em. Strut your stuff (strut your stuff), Strut your- [Music] Strut your stuff then their Cake walkin' babies from home. [Music] Well, here they come. Look at 'em syncopatin'. Go- [Music]

Goin' some, ain't they demonstratin'! Talk- [Music] of the town. They're easin' all 'round. [Music] They pickin' 'em up and layin' 'em down. Said their dancin' fools, ain't they demonstratin'. They're in a class of their own! Well, the only way to win is to cheat 'em. You may tie tie tie 'em but you'll never beat. 'em! Strut your stuff. Strut your stuff then they're Cake walkin' babies from home. [Music] Eddie Howard, "Ballin' the Jack" and Carol Lee "Cake Walkin and Babies from Home," and you're listening to Fascinatin' rhythm songs from the Golden Age of American Song. I'm Michael Lasser.

Though it was important for Black songwriters to break out of popular music's racial stereotypes, they usually followed the conventions of popular music but also managed to invest them with a rare dose of reality. If Blacks were still comic figures, they were also believable and sympathetic. Chris Smith wrote this song in 1916. Here's the cast of One More Time with Down in Honky Tonk Town.