Birmingham Sunday

bombingham

This past Saturday was the 55th anniversary of the KKK’s bombing of the 16th Street Baptist Church in Birmingham, in which four children died.

The (white) folksinger Richard Fariña wrote a song to commemorate the tragedy, “Birmingham Sunday”:

The tune of Fariña’s song is taken from the Scottish folksong “I Loved A Lass.”

Fariña attended Cornell University, and wrote a comic novel about his time there called Been Down So Long It Looks Like Up to Me, whose title he took from a song by Furry Lewis:

Incidentally, Furry Lewis’s song, “Turn Your Money Green,” was covered by other white folksingers.

Richard Fariña’s “Birmingham Sunday” was made famous by his sister-in-law, Joan Baez:

Rhiannon Giddens covers it on her recent album Freedom Highway:

Giddens’s arrangement of the song begins with a quotation from Mozart’s Piano Sonata no. 11 in A Major:

Why do you think Giddens references Mozart in her version of “Birmingham Sunday”?

Why do you think that, until Giddens, only white artists recorded the song?

 

Authenticity (part I)

file_51_5_grande

The protagonist of Hari Kunzru’s 2017 novel White Tears, a young white recording engineer named Seth, describes days spent listening to music with his college friend, Carter Wallace:

We worshipped music like [Lee “Scratch”] Perry’s but we knew we didn’t own it, a fact we tried to ignore as far as possible, masking our disabling caucasity with a sort of professorial knowledge: who played congas on the B-side, the precise definition of collie. . . . The actual black kids at our school, of whom there were very few, seemed to us unsatisfactorily preppy or Christian or were basketball jocks doing business degrees . . . It seemed unfair. We were the ones who wanted to be at a soundclash in Kingston. We knew what John Coltrane was searching for when he overflew his tenor in the middle section of A Love Supreme. . . .We really did feel that our love of the music bought us something, some right to blackness.

(Lee Perry’s legendary Kingston studio, Black Ark.)

Carter, a white trust-fund baby, has schooled Seth in black music:

He began with Jamaican dub. From there, he introduced ska and soca, soul and RnB, seventies Afrobeat and eighties electro. He spun early hip hop and Free Jazz and countless regional flavors of Bass and Juke music. Chicago, London, Lagos, Miami. I had not known there was such music . . . He listened exclusively to black music because, he said, it was more intense and authentic than anything made by white people.

What do you think Seth and Carter mean by authentic?

johnlomax_leadbelly_angola

(John Lomax recording Huddie Ledbetter, aka Leadbelly, at Angola State Prison in Louisiana in the early 1930s.)

In the early 1900s, the pioneering musicologist John Lomax began collecting old American songs and ballads. To “collect,” in this context, means to go “into the field” to transcribe or record people singing and playing traditional music. The “subjects” who performed in these circumstances were usually not professional musicians, but rather ordinary people in rural America who had learned the music from their parents and grandparents. Lomax and his son, Alan, had a special interest in preserving the legacy of African-American music born of slavery. In the face of rapid industrialization and urbanization during the Great Migration, as people moved en masse from the country to the cities, old customs, traditions, and music were inevitably being lost (in addition to collecting songs, Lomax directed the U.S. government’s Depression-era project to interview and transcribe the narratives of former slaves, many of whom were still alive). Among the Lomaxes’ most important work were their recordings of the music of the black inmates of Southern prisons, which they believed, due to their isolation, helped incubate an environment that allowed the prisoners to retain the old songs in their purest possible forms, without any corrupting influences from the world outside.

Although the Lomaxes were committed to the preservation of traditions that were in danger of dying out, their legacy has been re-examined in recent years.

[Patricia] Turner and some other scholars have come to question [Alan] Lomax’s influence. Lomax’s emphasis on the blues, they believe, presented a distorted and stereotypical picture of blacks. Karl Hagstrom Miller, the author of Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow, says when Lomax arrived in a black community, he didn’t ask for “‘the songs that you enjoy singing.’ He asked for them to find songs that fit into his idea of old time folk songs.”

This raises questions about whether the music the Lomaxes transcribed and recorded was truly authentic, or whether it was cherry-picked based on their notions of what black music should be.

The Lomaxes’ recordings fueled a new interest in traditional American music. In the 1940s and 1950s, listeners who were tired of the commercial values of the burgeoning music industry began turning to the Anthology of American Folk Music, a set of multiple LPs of the blues, gospel, and folk songs the Lomaxes had recorded. The Anthology  was so influential that it became something like the Bible of the folk revival . . . Bob Dylan wouldn’t have been possible without it.”

0919001r

1024px-Joan_Baez_Bob_Dylan

One of those jaded 1950s listeners was Joan Baez (above, with Bob Dylan), the daughter of a nuclear physicist, who in her teens became a star of the folk revival movement. At the March on Washington in 1963, Baez, who is of Scottish and Mexican descent, led the masses in singing the Civil Rights anthem “We Shall Overcome.”

As the Library of Congress describes “We Shall Overcome,”

It was the most powerful song of the 20th century. It started out in church pews and picket lines, inspired one of the greatest freedom movements in U.S. history, and went on to topple governments and bring about reform all over the world. Word for word, the short, simple lyrics of “We Shall Overcome” might be some of the most influential words in the English language.

“We Shall Overcome” has it roots in African American hymns from the early 20th century, and was first used as a protest song in 1945, when striking tobacco workers in Charleston, S.C., sang it on their picket line. By the 1950s, the song had been discovered by the young activists of the African American civil rights movement, and it quickly became the movement’s unofficial anthem. Its verses were sung on protest marches and in sit-ins, through clouds of tear gas and under rows of police batons, and it brought courage and comfort to bruised, frightened activists as they waited in jail cells, wondering if they would survive the night. When the long years of struggle ended and President Lyndon Johnson vowed to fight for voting rights for all Americans, he included a final promise: “We shall overcome.”

In a 1965 speech, the Reverend Martin Luther King Jr. also referred to the song:

Yes, we were singing about it just a few minutes ago: “We shall overcome; we shall overcome, deep in my heart I do believe we shall overcome.”

And I believe it because somehow the arc of the moral universe is long but it bends toward justice. We shall overcome because Carlyle is right: “No lie can live forever.” We shall overcome because William Cullen Bryant is right: “Truth crushed to earth will rise again.” We shall overcome because James Russell Lowell is right: “Truth forever on the scaffold, wrong forever on the throne. Yet, that scaffold sways the future and behind the dim unknown standeth God within the shadow, keeping watch above his own.”

“We Shall Overcome” is a song derived from multiple sources, including the slave song “I’ll Be All Right Someday”:

the hymn “I’ll Overcome Someday”:

(which was composed by pastor of the East Calvary Methodist Episcopal Church in Philadelphia, Charles Albert Tindley, the son of a slave):

and a Catholic hymn to the Virgin Mary from the eighteenth century, “O Sanctissima.”

The song was sung by striking tobacco workers in Charleston, South Carolina in 1945. It spread to other states where workers were involved in organizing. Pete Seeger, one of the leaders of the folk music revival, heard it, made a few changes, and began performing and teaching it to audiences around the country.

Bernice Johnson-Reagon, one of the founders of the a cappella group Sweet Honey in the Rock, said about Seeger’s changes:

The left, dominated by whites, believed that in order to express the group, you should say ‘we,’ . . . In the black community, if you want to express the group, you have to say ‘I,’ because if you say ‘we,’ I have no idea who’s gonna be there. Have you ever been in a meeting, people say, ‘We’re gonna bring some food tomorrow to feed the people.’ And you sit there on the bench and say, ‘Hmm. I have no idea.’ It is when I say, ‘I’m gonna bring cake,’ and somebody else says, ‘I’ll bring chicken,’ that you actually know you’re gonna get a dinner. So there are many black traditional collective-expression songs where it’s ‘I,’ because in order for you to get a group, you have to have I’s. . . And, you know, we’d been singing the song all our lives, and here’s this guy [Seeger] who just learned the song and he’s telling us how to sing it, . . And you know what I said to myself? ‘If you need it, you got it.’ What that statement does for me is document the presence of black and white people in this country, fighting against injustice. And you have black people accepting that need because they were also accepting that support and that help.

Johnson-Reagon led an all-star ensemble, including Joan Baez, in the song many years later on Pete Seeger’s 90th birthday:

What do you think about Pete Seeger changing “We Shall Overcome” and “teaching” his version to black activists?

What do you think about Joan Baez leading the March on Washington in singing it?

Could this happen today? Should it?