Using a Feminist Digital Humanities Approach: Critical Women’s History through Covers of “Black Coffee”
“Black Coffee” and the Echoes of the Blues
In 1949, Sarah Vaughan recorded “Black Coffee” for Columbia Records. The song opens with a foreboding sound from the orchestra with the fluttering of a clarinet and flute. When Vaughan’s voice comes in on the opening line “I’m feeling mighty lonesome” with a deep, rich sound, she expresses a common sentiment found in the blues. In the chorus, she gives life to the song’s main theme: “Black coffee/Since the blues caught my eye,” conveying a depressive state resulting from heartbreak. The lyrics she sings express an inability to sleep and over-attention to details: “I walk the floor and watch the
…show more content…
This exhibit takes a feminist approach to digital technologies in its engagement with women singers’ covers of blues, jazz, and popular songs, beginning in the 1920s and spanning through recent covers in the 2000s. Building from Angela Davis’ Blues Legacies and Black Feminism, the exhibit presents a genealogy that traces the legacies of the blues women’s black working-class feminist consciousness over time and space, and across genres. It looks to explore how this feminist consciousness set forth by the blues women might have been engaged by subsequent women blues and jazz singers of different races and ethnicities through their interpretations of recorded cover songs. This article considers how digital technologies can be utilized to create useful platforms that can highlight feminist methodologies and epistemologies, particularly through engagement with sound studies and studies of the voice. In tracing the conceptualization of the Women Sing the Blues project, I aim to show that by listening closely to women’s voices on a digital platform, listeners have the ability to understand and interact with different interpretations of cover songs, which then has the potential for audiences to track singers’ engagement with feminist consciousness and social critique through a gendered lens. This article also discusses the benefits and limitations of particular platforms and approaches in the digital humanities, and advocates for the continued development of alternative platforms and technologies grounded in feminist methodologies and epistemologies. I focus on covers of the song “Black Coffee” as present on the exhibit in order to demonstrate these
Louis Armstrong’s rendition of the Hot Chocolates “Black and Blue” is efficient in of displaying the unique characteristics of the music that makes jazz such a special genre and sound. The Hot Chocolates first preformed the song at the end of the 1920s, right when the blues started to become more intertwined with jazz music and performers like Mammie Smith started to become relevant. Louis Armstrong also derived a lot of inspiration from blues which is why his version of the song incorporated blues scales. The Hot Chocolates version of the song relies more heavily on the vocals than Armstrong’s version. In the original, you hear Edith Wilson’s voice come in well before the song’s half way point; in Louis version his trumpet takes
It highlights the luxurious lifestyle of the rich man and about the rich man’s lack of knowledge regarding the struggles of the poor man. “Washwoman’s Blues” is a parallel song, also performed by smith, speaks about the financial environments of many African American women. These are social protests because “Poor Man’s Blues” openly indicts and upper classes for the increasing manipulation and poverty of the poor and “Washwoman’s Blue” critiques the oppressive conditions that most African-American women were forced to work. Bessie smith wrote and recorded many songs that invoked the black experience in America, notably “Blackwater Blues”, “Workhouse Blues”, and “Send Me to The Lectric Chair” all were subtle protests against the treatment of blacks. They touched on topics ranging from black imprisonment to the disregarding of African Americans and
Typically when they sing using sadness they sing about negative points in their life, negative subjects all workers relate to, or the pain that comes with their work. When they sang using a sad tone it was called a blue devil or sometimes just blues. They used these names to describe their blue mood. A quote describing why blues are sad by Joe louis: “The man says, why I sing the blues is because I lived it. I know how it feels. When your hurt you gotta tell somebody. Somebody must understand how you feel . The only way to do it is to say it loud and clear. Make sure that everyone will hear. Its the truth the way it is. That’s why I sing the blues. “ The reason people sing blues and sad songs during the time is to let off steam, and to get your emotions out of your system instead of letting steam build up to the point you explode.
Before beginning to analyze both Motown and Stax Record’s influence on black consciousness it must first be understood why black consciousness itself can be seen as a step in the right direction in the fight against black struggle. Brian Ward does a great job of capturing the true success of soul music’s influence on black consciousness. Ward says, “[Black radio’s] real strength… was its ability to dramatize and celebrate shared aspects of the black experience… to promote a revived sense of black identity, pride, solidarity and common consciousness” (Ward 449). In his book, Ward also points out that despite this successful development of black consciousness, there was limited success both economically and structurally on behalf of the black music industry. This shows that even though ther...
Nina Simone used music to challenge, provoke, incite, and inform the masses during the period that we know as the Civil Rights Era. In the songs” Four Women”, “Young Gifted and Black”, and Mississippi God Damn”, Nina Simone musically maps a personal "intersectionality" as it relates to being a black American female artist. Kimberly Crenshaw defines "intersectionality" as an inability for black women to separate race, class and gender. Nina Simone’s music directly addresses this paradigm. While she is celebrated as a prolific artist, her political and social activism is understated despite her front-line presence in the movement.
In Black and Blue, Fran Benedetto tells a spellbinding story: how at nineteen she fell in love with Bobby Benedetto, how their passionate marriage became a nightmare, why she stayed, and what happened on the night she finally decided to run away with her ten-year-old son and start a new life under a new name. Living in fear in Florida--yet with increasing confidence, freedom, and hope--Fran unravels the complex threads of family, identity, and desire that shape a woman's life, even as she begins to create a new one. As Fran starts to heal from the pain of the past, she almost believes she has escaped it--that Bobby Benedetto will not find her and again provoke the complex combustion between them of attraction and destruction, lust and love. Black and Blue is a beautifully written, heart-stopping story in which Anna Quindlen writes with power, wisdom, and humor about the real lives of men and women, the varieties of people and love, the bonds between mother and child, the solace of family and friendship, the inexplicable feelings between people who are passionately connected in ways they don't understand. It is a remarkable work of fiction by the writer whom Alice Hoffman has called "a national treasure." With this stunning novel about a woman and a marriage that begins in passion and becomes violent, Anna Quindlen moves to a new dimension as a writer of superb fiction. Black and Blue is a beautifully written, heart-stopping story in which Anna Quindlen writes with power, wisdom, and humor about the real lives of men and women, the varieties of people and love, the bonds between mother and child, the solace of family and friendship, the inexplicable feelings between people who are passionately connected in ways they don't understa...
According to Albert Murray, the African-American musical tradition is “fundamentally stoical yet affirmative in spirit” (Star 3). Through the medium of the blues, African-Americans expressed a resilience of spirit which refused to be crippled by either poverty or racism. It is through music that the energies and dexterities of black American life are sounded and expressed (39). For the black culture in this country, the music of Basie or Ellington expressed a “wideawake, forward-tending” rhythm that one can not only dance to but live by (Star 39).
Moreover, the task at hand is not one that is easily accomplished. In order for music to be a hit, it had to be a hit within the white community. The ...
The late Michael Joseph Jackson was a 20th-century African-American singer and songwriter who transformed the face of pop music and popular culture throughout his lifetime (Michael Joseph Jackson ). Debuted in the professional music world in 1968 at the age of 10 as a member of The Jackson 5, Jackson’s rise to fame had been largely influenced by his invaluable contributions to the music, dance and fashion industries (Michael Joseph Jackson). Hailed as the ‘King of Pop’, his solo album “Thriller” remains “the best-selling album of all time”, with global sales of “over 51 million copies to date since 1982” (Guinness World Records ). Michael Jackson’s one-of-a-kind songs have also earned him over 700 awards, including 13 Grammy Awards as well as the Grammy Lifetime Achievement Award (Michael Jackson; Grammy). However, his music recognition goes beyond what his cupboard-full of awards could ever represent. In this paper, I propose that Michael Jackson’s songs have touched and changed many lives through his constant fight for racial fairness. In particular, I argue that Michael Jackson used his music career as an outlet to break down racial barriers in the American music industry, to express his disappointment towards racial discrimination, to demonstrate his support for racial equality, to advocate that the color of our skin does not differ us from one another, as well as to show and guide others that change has to begin within oneself before impacting the world . Although certain parties would point out that Jackson used derogatory r...
When the piece was originally written for the Hot Chocolates, it was considered to be “America’s first `racial protest song`… [and] certainly Razaf’s lyric stripped bare essences of racial discontent that had very rarely if ever been addressed by any African American musically” (Singer 219). The music was created to express the hardships of the black community and the intra-racial discrimination, evident by the line: Browns and yellers all have fellers, gentlemen prefer them right. This illustrates that within the black community, those of fairer complexion were preferred. In Armstrong’s performance, the piece was removed from its original context of a Broadway show and placed as a stand-alone piece. In doing this, the emotion created by the Broadway performance and the stage scene were lost and “Black and Blue” became just another bluesy piece. Further, his “recitativo vocal style underscore[d] the song’s plaintive quality, while his exuberant embellished trumpet solos at the beginning and the end … counteract[ed] despair” (Meckna 38). However, Armstrong dropped the verse about intra-racial prejudice and made the chorus a “threnody for blacks of every shade” (Teachout 139). In doing this, he altered the music from being just about intra-racial issues to a global of scale of the battle between black and whites and the prejudices.
...nd attractive. It creates a double consciousness that is difficult to reconcile. Carla Williams argues that “given the legacy of images created of black women… it is an especially complex task for contemporary black women to define their own image, one that necessarily both incorporates and subverts the stereotypes, myths, facts and fantasies that have preceded them. (Wallace-Sanders et.al, 196) The root of the problem lies within our society. While very culpable, mainstream music and advertisements are not the only promoters of female objectification; the key is unwinding the inner tensions between these two groups. There is a need for the promotion of female solidarity, regardless of their skin color. We need to rid society of the evil of racism—only then will conceptions surrounding African Americans parallel and be as positive as those surrounding white women.
The music industry’s history is a convoluted mess. There is no real consensus on what the music industry IS and what paths it has taken. Were the Beatles the greatest band to ever exist? Maybe. Is there a hyper objectification of women throughout the “men’s club” that is the music industry? Probably. It’s this hard to define, frankly confusing business that is worth roughly $130 billion dollars today. With it’s flimsy and opaque edges, can the music industry ever be called into question on its wrongdoings? The racist undertone throughout its history may force it to. With the music industry as an ever growing business that seems to change almost every decade, the one thing that has not changed throughout time is an undercurrent of racism that
Music nurtured the African American tradition and their struggle towards equality in the same century.... ... middle of paper ... ... Greensboro, N.C.: Morgan Reynolds Pub. Carter, D. (2009).
...essity of a “healthy, honest vibrant(not sterile and repressed) cultural space” (Rose 11). However, this space does not only have to exist within hip hop. What attracts me to Afro-Punk is the acceptance of the space of alterity. It is through this alterity that their creative agency is realized. The experience of epistemic violence that has marginalized African-Americans within western society, African-Americans within the predominantly white punk scene, and Afro-Punks within popular media representations of African-Americans has fostered the creation of a space in which alterity is the only requirement. When I complete this project, I hope to have created a comprehensive outline of the empowering potentialities of the Internet that is critical yet optimistic, and rooted in the creative energy that exists within the often unexplored spaces of alterity and abjection.
Music often carries information about community knowledge, aesthetics, or perspectives. Toni Morrison discusses the power of music and the way it functions in culture in discussions of her craft. Symbolic and structural elements of music appear throughout all of Toni Morrison’s fiction in one way or another. (Obadike) As mentioned above, the title itself, draws attention to the world-renowned music created by African Americans in the 1920s’ as well as to the book’s jazz-like narrative structure and themes.