Content warning: explicit language, racial slurs (including the n-word) in original sources.
Bobby Seale, the co-founder of the Black Panther Party, dedicated his 1968 book Seize the Time, to his wife, Artie, and his son, Malik Nkrumah Stagolee Seale.
Malik’s third name, as Seale explains it,
derives from the lumpen proletarian politically unaware brothers in the streets. Stagolee fought his brothers and sisters, and he shouldn’t have. The Stagolees of today should take on the messages of Malcolm X as Huey Newton [the co-founder, with Seale, of the Black Panther Party] did, to oppose this racist, capitalist oppression our people and other peoples are subjected to. Malik must not fight his brothers. . . .
When my wife Artie had a baby boy, I said, “The nigger’s name is Malik Nkrumah Stagolee Seale.”
“I don’t want him named that!” Artie said.
I had read all that book history about Stagolee, that black folkloric history, because I was hung up on that stuff at the time . . . Stagolee was a bad nigger off the block and didn’t take shit from nobody. All you had to do was organize him, like Malcolm X, make him politically conscious. . . [Kwame] Nkrumah [the first president of post-colonial Ghana] was a bad motherfucker and Malcolm X was a bad nigger. Huey P. Newton showed me the nigger on the block was [as powerful as] ten motherfuckers when politically educated, and if you got him organized. I said, “Stagolee, put Stagolee on his name,” because Stagolee was an unorganized nigger, to me, like a brother on the block. I related to Huey P. Newton because Huey was fighting niggers on the block. Huey was a nigger that came along and he incorporated Malcolm X, he incorporated Stagolee, he incorporated Nkrumah, all of them.
Who was Stagolee, and why did his legend persist into the days of Black Power?
Also known as Stagger Lee, Stacker Lee, and Stack-o-Lee, among other derivatives, Stagolee was born Lee Shelton in Texas in 1865. He became a legendary pimp in St. Louis, and shot another man, Billy Lyons, in a bar fight in 1895, during which Lyons snatched Shelton’s Stetson hat off his head. As Joe Kloc describes the scenario:
On Christmas Day, 1895, a local pimp named “Stack” Lee Shelton walked into a St. Louis bar wearing pointed shoes, a box-back coat, and his soon-to-be infamous milk-white John B. Stetson hat. Stack joined his friend Billy Lyons for a drink. Their conversation settled on politics, and soon it grew hostile: Lyons was a levee hand and, like his brother-in-law—one of the richest black men in St. Louis at the time—a supporter of the Republican party. Stack had aligned himself with the local black Democrats. The details of their argument aren’t known, but at some point Lyons snatched the Stetson off Stack’s head. Stack demanded it back, and when Lyons refused, shot him dead.
Popular songs about Stagolee, in the ancient folk tradition of murder ballads, began cropping up almost immediately after this event. Shelton went to prison, and by the time he was paroled in 1909, the first written version of the lyrics about his misdeeds had been published. The folk narrative of Stagolee and Billy has been recorded hundreds of times by artists across color lines and genres, and Stagolee has become a romanticized outlaw in the great American tradition of Jesse James and Bonnie and Clyde.
The most famous rendition is by country blues guitarist Mississippi John Hurt.
The influential Depression-era white folksinger Woody Guthrie:
Blues guitarist Taj Mahal’s version:
In 1959, it became a rock-and-roll hit for Lloyd Price:
Amy Winehouse performing a cover of Lloyd Price’s cover:
Wilson Pickett’s blues-funk version in 1969:
The Grateful Dead:
Samuel L. Jackson talk-sings it in the movie Black Snake Moan:
British-Australian post-punk singer Nick Cave:
The lyrics for Nick Cave’s version are here. As you can see, Cave takes the tale out of the African-American context and places it in the genre of the generic murder ballad. Do you think it works?
Rudy Ray Moore’s toast, “Stack-a-Lee”:
Why do you think the legend of Stagolee has had such an enduring appeal to both black and white artists?
Bobby Seale described “the Stagolees of today” (in 1968) as “politically unaware brothers in the street.” What did he mean? Who are the Stagolees of the 21st century?
Has the romanticized-outlaw image of Stagolee carried over into rap music? Give an example of a song and an artist.
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