[Dixielandjazz] FW: Black and Blue

[Bill Haesler]

Dear Rebecca and others (except Steve who knows about this),
I prepared this some time ago for another list.
Kind regards,
Bill.

"Black and Blue" - the song.

Let's not get too get carried away with mythical stuff about the 1929  Fats
Waller - Andy Razaf song "(What Did I Do To Be So) Black And Blue" being an
intentional black versus white protest song!
As Steve correctly opined: "There was, and probably still is, colour prejudice
among black people regarding lightness of skin tone. The song "Black & Blue" was
originally about this occurrence"
In the book 'Black and Blue. The Life and Lyrics of Andy Razaf' by Barry Singer
(Schirmer Books 1992), it is all laid out. 
The song started out as a late entry to the show 'Hot Chocolates', inserted just
before the show opened on Broadway in June 1929.
One night at the Connie's Inn, the gangster Dutch Schulz (who apparently was
financing the production) "asked" Andy Razaf to include a funny number with a
little coloured gal singing how tough it was to be coloured. 
Razaf pointed out that he couldn't possibly write a song like that. 
Schultz, enraged, pulled a gun and said that if he did not write it, he would
never write again.
OK. Razaf decided to do it his way and, using his partner Fats Waller, acceded
to Shultz's request.
Singer Edith Wilson introduced the song set on a white stage, bed dead centre,
with an enormous bed covered in white satin.
Miss Wilson (a large lady) in a white negligee (oooooooh!) sang:
"Out in the street,
Shufflin feet,
Couples passin' two by two.
While here am I,
Left high and dry,
Black, and 'cause I'm black I'm blue.
 
Razaf claimed that he wrote the piece to present the song (outwardly) as a piece
about prejudice between light and dark skinned blacks, a practice that Razaf
apparently despised.
"Browns and yellers,   
all have fellers, 
gentlemen prefer them  light,
Wish I could fade,
can't make the grade.
Nothing but dark days in sight."

The chorus tells about a lonely woman.

" Cold empty bed, 
Springs hard as lead,
Pains in my head,
Feel like old Ned
What did I do,
To be so black and blue?
No joys for me,
No company,
Even the mouse
Ran from my house,
All my life through,
I've been so black and blue."

Then Razaf hit them with the bridge:

"I'm white, inside, that don't help my case
'Cause I, can't hide, what is on my  face"

Then:

"I'm so forlorn,
Life's just a thorn,
My heart is torn,
Why was I born?
What did I do,
To be so black and blue?

'Cause you're black,
Folks think you lack.
They laugh at you,
And scorn you too.
What did I do,
To be so black and blue?

When you are near,
They laugh and sneer,
Set you aside
And you're denied,
What did I do,
To be so black and blue?

How sad I am, each day I feel worse.
My mark of Ham seems to be a curse.

How will it end?
Ain't got a friend.
My only sin is in my skin.
What did I do to be so black and blue?"

Razaf later claimed that the first night audience's appreciation probably saved
him from Schultz when he quickly realised that he had 'commissioned' a big hit. 
Louis was the first to record the tune (22 July 1929), but, as already
discussed, only sang a variation of the first chorus.
A week later (29 July 1929) Duke Ellington made a non-vocal version.
Blanche Calloway (Cab's sister) sang it on record (13 Aug 1929) with Ruben & His
River Boys. Verse, first chorus and the bridge from the second chorus only.
And if you get a chance to hear this one, listen to Reeves trying, very
successfully, to out-blow Louis.
The original singer of the song, Edith Wilson, recorded it for Brunswick in Nov
1929, and it is well worth a
listen. But it is a slow, spoken version, so she only has time for the verse and
first chorus. 
This is one of the first 'cast' recordings. And, perhaps, my favourite version
of the song. 
But, I am a nostalgic old fool.
Ethel Waters version on 1 April 1930 has all the lyrics (with minor variations).
I suggest that the 'racial' significance came later, notwithstanding 2 bridges
of the original Razaf lyrics.
And let's not forget Fats Waller's musical contribution to a memorable song.
Kind regards,
Bill.
PS: The Schultz/Razaf story was incorporated in the late 1990s Woody Allen film
"Bullets Over Broadway" about a gangster's bodyguard interfering in the show-life of his boss's
girlfriend.