Every popular source about Bert Williams sings his praises. Although he lived (1892-1922) during a time when racial inequality was blatant and accepted, he had an extremely successful career in the entertainment industry. He was the first black man to have a leading role in a film and a leading role on Broadway, the best-selling black recording artist before 1920, and was hailed as one of the greatest comedians of his time. 

Bert Williams was also a black minstrel performer. He and his partner Geroge Walker worked to reclaim minstrelsy and entertainment from the white performers that so often belittled and violated black life and culture through minstrel performances. And judging by his successful career, Williams was able to achieve some degree of reclamation. 

But in his article, titled “The Unfunny Bert Williams,” published in the Chicago Defender, one of the nation’s largest black newspapers, Enoch Waters juxtaposes this vision of success with a story about Bert Williams. Basically, Eddie Cantor, a white comedian, visits Williams in his room during a dinner party, only to find that Williams is eating dinner alone. Cantor accuses him of being exclusive, but Williams has to explain that he has been refused service in the restaurant downstairs, due to his race. This exposes the paradox in their society; Bert Williams is exceedingly famous among white people, loved by all, yet he still has his rights stolen from him due to the racism of the time. 

This incident happened during Bert Williams lifetime, but Enoch Waters considered it relevant material in 1954 when he published his article. And I believe that it is still relevant today. No matter the value of a person of color, or their “success,” they are still subject to the racist thoughts and systems present in our society.

Citations

Waters, Enoc P. “Adventures in RACE RELATIONS: The Unfunny Bert Williams.” The Chicago Defender (National Edition) (1921-1967), Aug 14, 1954. https://www.proquest.com/historical-newspapers/adventures-race-relations/docview/492840513/se-2?accountid=351.

“Bert Williams (1874-1922).” Library of Congress, biographies, https://www.loc.gov/item/ihas.200038860/#

If you know anything about minstrelsy, you know that it is a prime example of America’s horribly racist past. But what’s striking is how present it is in our media today, almost normalizing this appalling phenomenon. 

The music group “The New Christy Minstrels” is a demonstration of the legacy of minstrelsy. But to understand this, we must first understand the old Christy Minstrels. 

Cover for sheet music used at Christy’s Minstrel shows

Cover on New Christy’s Minstrels vinyl

Minstrelsy was formed around the 1830s and was a theater tradition in which white performers painted their faces black with burnt cork and greasepaint. They would produce comedy shows satirizing black life, complete with songs, backing bands, dancing, and sketches. The Christy Minstrels were a minstrel group that formed in 1844, and toured the US, making money from performing in blackface. 

The New Christy Minstrels are a music group that performs folk music, and although they stopped producing music in the 90s, they still have over 50,000 monthly listeners on Spotify. In 1962 they won a grammy, and in 1970, they performed at the super bowl half-time show. They were extremely successful in their time, and still, hold relevance today. The founder of the New Christy Minstrels admits openly that his group is named after the original (racist) minstrel troupe, and their most popular albums feature minstrel songs. 

On the Library of Congress database, there is a recording of The New Christy Minstrels performing a song titled, “The Cotton Picker’s Song,” a piece of music that’s clearly about/sung in the voice of enslaved people. I came across this recording while searching for material about Christy’s Minstrels, the original troupe. I’m still shocked by the existence of this group and their blatant and careless references to one disgusting part of America’s past. Do they not know about the violent and unacceptable history of minstrelsy? Or do they not care? 

The New Christy Minstrels display a shocking amount of ignorance and prove that education about minstrelsy and racism is necessary.

Citations

Currently, there have been over 1000 children’s graves recovered at the sites of Indian Residential Schools in Canada. These schools were an assimilation tactic used by both the United States and Canada from the 1880s-1980s and were the site of horrific abuse and tragedy.

The curriculum for these schools in the US was ascribed by the book Tentative Course of Study for United States Indian Schools, published in 1915 by the US government’s office of Indian Affairs. In every grade, the children were made to study music. There’s a section about the study of music, and the way in which the curriculum is written helps to highlight the ambivalence of the US government to the native communities. 

This is an excerpt from page 111. It explains the topics of instruction.

The beginning of the second paragraph reads, “The first requirement for musical training in the schoolroom is to permit the pupils to only hear good music.” I found this particularly interesting, because, as we know, it’s almost impossible to label music as “good music.” This may be implying that native music is bad, but the text never says that outright. But what it does go on to mention is that singing should always be done with a “good, smooth, sweet, light, and pure tone.” This is important to note because a pure tone (in the western sense) is not something that is highly valued in Native American music. In many native songs, the vocal quality is more raw and focused, as can be heard in this recording of “War Dance Song,” music of the Plains Indians.

http://https://www.youtube.com/watch?v=yec542aOIzM

There’s also a strong focus on drilling intervals and sight singing. We know from countless charts and attempts to measure native intervals that our scales are not the same, so intervals and sight singing must have been extremely challenging for these children. There’s also a mention of music “stories,” where the teacher would be expected to give information about the history of Mozart and Beethoven. This is especially disheartening, given how we know that many native tribes used song and dance to tell their own stories. 

In all of this writing, there’s no mention of native culture or references to these children being from native tribes. It really seems as if the US government was trying to create a blank slate for these children, not talking about them as “less than” or being outright racist. But by erasing their history, the authors of this book are contributing to the violence enacted against them. These children entered these schools against their will, bringing with them the extreme trauma of being stolen from their homes and forced into a new environment. Erasing all aspects of their history is cultural genocide, and definitely made it easier to ignore the atrocities enacted by the authorities in these schools.

Citiations

Office of Indian Affairs. “Tentative Course of Study for United States Indian Schools.” Accessed November 1, 2021. https://www.aihc.amdigital.co.uk/Documents/Images/Ayer_386_U5_1915/61.

Young, Robin, and Camila Beiner. “Indigenous Kids’ Bodies Recovered – Not Discovered, Says Canada’s Assembly of First Nations Chief.” WBUR, July 20, 2021. https://www.wbur.org/hereandnow/2021/07/20/canada-indigenous-schools.

There’s little information about composer Dave Reed Jr. available online. And although many records of his compositions exist in Databases, there are few recordings and even fewer quality recordings. What I’ve learned from my research is that Dave published his sheet music, for which he was the composer and lyricist, from 1894-1921. His father was Dave Reed Sr., a famous minstrel performer. That being said, I still couldn’t figure very much out about either of these men.  

In all of my research, what I was most interested in finding was the context for some of Dave Reed Jr.’s published songs. On the sheet music consortium, I found 3 pieces by Reed that piqued my interest. They were all about women, specifically women of color (two about black women and one about a native American woman). Interestingly, all of these songs describe these women as beautiful, graceful, and even aristocratic. Take a look at these lyrics from “Lady Africa”

“…She is de Queen of color’d high society

They shout Hurrah for Lady Africa

For she’s the perfect essence of propriety…”

I found myself wondering, are these songs actually celebrating black women? Spoiler alert: I don’t know. But in researching and reasoning, I ended with one final thought: Perhaps it doesn’t matter. I’ll elaborate.

First, I was curious about the race of the composer, since I figured there would be a higher chance for celebrating black women if the composer was a black man. Some of the songs are also written with a black-American dialect. Dave Reed Sr. was part of a group called Bryants Minstrels, who at first glance seem to be a white troupe since the leaders (the Bryants) were white. But with further reading, I learned that they did have at least a few black performers. Additionally, I found a picture of David Reed Sr. wearing blackface, where he looks white, but of course, I can’t say that definitively. 

Next, I examined the music in relation to the time period. These songs were all published before 1920, placing them in the minstrel time period, yet there was no evidence that they were ever performed as minstrel songs. But when comparing the music to other music at the time, it is not very different. The instrumental parts all seem similar to a ragtime style, which we know came almost directly from minstrelsy. Furthermore, the subject matter is the same as that in minstrels. The lyrics simply talk about romantic themes and black women: something that doesn’t seem out-of-place now but could’ve been satirical in that time. 

After researching, it seems as though Dave Reed Jr. was not intending to celebrate black women. But without context, it might not matter. These songs talk about black women in high standing, from beautiful lands, who are desirable in many ways. I think it’s possible that these songs could be reclaimed today, given that the lyrics could be seen in a positive light.

Citations

Music Division, The New York Public Library. “My Hannah lady, whose black baby is you” New York Public Library Digital Collections. Accessed October 25, 2021. https://digitalcollections.nypl.org/items/510d47df-f04d-a3d9-e040-e00a18064a99

Books and Media, Duke University Library. “Lady Africa” Duke University Library Digital Collections. Accessed October 25, 2021. https://find.library.duke.edu/catalog/DUKE005411564

Arizona State University. “My Kickapoo Queen” Arizona State University Sheet Music Collection. Accessed October 25, 2021.https://hdl.handle.net/2286/R.A.127822

Discography of American Historical Recordings, s.v. “Reed, David,” accessed October 25, 2021, https://adp.library.ucsb.edu/names/107887.b0807

While researching in the Afro-Americana Imprints database, I came across the cover for sheet music dedicated to musician Richard Willis, which included music written by Francis Johnson. Immediately, I was interested in the identity of these men, particularly Francis Johnson. Initially, I found that he was born in 1792 either in Philadelphia or Martinique (A Caribbean Island), and that there’s not much known about his personal life, other than that he was a free black man who lived in Philadelphia.

Upon further investigation, I found that Frank has the most impressive resume. It was rumored that he played all instruments, taught black and white students, toured the US and Europe, composed hundreds of pieces, and was gifted a silver trumpet from Queen Victoria her

self! This is especially impressive, given that during his lifetime, slavery was still thriving in the South. But this information is all from secondary sources, namely the African American Registry website, and the University of Pennsylvania archives website. I was interested in finding first-hand accounts of Francis and his music, yet it seems like there’s almost no primary source material available. 

I tried searching the Frank Johnson Musical Association, band, players, groups, etc., to no avail. Almost everything was either irrelevant or about another Francis Johnson. I was only able to find one writing that mentioned the accomplishments of Francis Johnson the musician. It’s titled “Music and Drama,” published in the People’s Advocate, published in 1880. It reads:

“[He] could play on every instrument then known, In 1839 he visited Europe with a portion of his band and was rumored to play the silver six-keyed bugle… was a tutor on the bugle of Willis…  was a composer of no mean celebrity”

Upon further examination, I found that this was a republication of an article from a newspaper called the Elevator (which took a lot of sleuthing to figure out), which was most likely written by a woman named Jennie Carter. Still, I don’t know who that is or if she is reliable.

This has all made me ask: Why is it so hard to find information about this man who seemed to be so successful? Perhaps not much was written about him, but to me, it seems more likely that not much was saved about him. Although the white newspapers and print were getting archived and filed away, did black people have these resources? Once again I’m seeing how my view of black Americans is so hugely shaped by racist history and the fact that white people have always been in control. I find myself wondering if we can ever uncover the true history of black Americans. 

Citations:

“The Death of Willis.” Flot, Meigan & Co. (Philadelphia, Pennsylvania), 1837: Readex: Afro-Americana Imprints. https://infoweb.newsbank.com/iw-search/we/Evans/?p_product=EAIX&p_theme=eai&p_nbid=T5FA5DYSMTYzMzk5NjYzNy40NDg2NDE6MToxNDoxOTkuOTEuMTgwLjE0OA&p_action=doc&p_queryname=16&p_docref=v2:13D59FCC0F7F54B8@EAIX-154E9B11D0F03650@S2316-@1-160CC4A8734732F2&f_mode=printCitation

“Music And The Drama.” People’s Advocate (Washington (DC), District of Columbia), May 1, 1880: 1. Readex: African American Newspapers. https://infoweb.newsbank.com/apps/readex/doc?p=EANAAA&docref=image/v2%3A1314AA70AC23F712%40EANAAA-1318B7EB28CCA808%402407837-1317FCEBA03D18F8%400-138B6D055378A841%40Music%2BAnd%2BThe%2BDrama.

“Frank (Francis) Johnson, Musician, and Teacher Born.” African American Registry, June 16, 2021. https://aaregistry.org/story/frank-johnson-a-first-for-black-music/.

In December of 2005 an immigration bill was passed that greatly increased the restrictions on immigration and undocumented immigrants. And although people from every country immigrate to the US, one community always seems to get singled out in the discussion: the Hispanic community. In response to the bill, protests occurred all across the country, with over a million people protesting in Los Angeles alone. 

This picture, taken in Los Angeles during one of the protests, depicts a mariachi band leading the protest, framed by signs and waving american flags. To me, this image is a perfect representation of a cultural identity existing in America, being celebrated with music. The mariachi music is displaying feelings of pride in one’s culture and in one’s immigration status. The band, with their traditional clothing, displays a strong hispanic pride, while protesting in america shows a unity to the country and to their community. In fact, the sign behind the band reads, “If you think I’m ‘illegal’ because I’m a Mexican, learn the true history. Because I’m in my homeland,” most likely referring to the Pobladores, a group of Mexican families who lived in (and named!) Los Angeles before the USA existed. 

I think that by performing and leading this protest, the mariachi band is completing the highest form of protest: celebration. By celebrating hispanic heritage and culture with mariachi music– something that’s usually joyful and special– their placing the joy of their culture and their community within the view of people outside of their community (ie. white people). Their adding to the significant history of protest music in the US, a genre that captures the emotions and qualms of politic unrest in the US. 

The music at the protest also somehow makes the atmosphere more lighthearted, which is sometimes needed at a protest, to remind people that their is hope and a future worth protesting for. 

Interestingly, many of the areas in which mariachi is suspected to have originated are the same areas from which mexican immigrants are from. Zacatecas, Guanajuato, and Sinoloa are all areas with heavy emigration and areas in which there is a strong mariachi presence. 

Below is an example of mariachi music being played at a protest– this time against Donald Trump, who is famously anti-hispanic immigration. 

http://https://www.youtube.com/watch?v=FLkG7l-cy5E

bibiolography:

“Mariachi Band Leads Protesters.” The American Mosaic: The Latino American Experience, ABC-CLIO, 2021, latinoamerican2.abc-clio.com/Search/Display/1602762. Accessed 27 Sept. 2021.

Hameed, Fatimah. Millions in the U.S. Protest Immigration Policy, 2006, https://nvdatabase.swarthmore.edu/content/millions-us-protest-immigration-policy-2006. Accessed 26 Sept. 2021.