Black (Race) Markers In Irving Berlin's "Alexander's Ragtime Band"

Edited by Azizi Powell

This post presents comments about Black* (race) markers in Irving Berlin's 1911 composition "Alexander's Ragtime Band". In the context of this post, by "Black (race) markers" or "code for Black people" I mean songs by White lyricists or other non-Black lyricists which by their title, lyrics, and/or grammar signal that the songs are about Black Americans. Those Black (race) markers include Black vernacular, references to aspects of Black life & culture, use of what is (or what was) considered to be Black grammar, and/or the use of what are (or were) considered to be "Black" names (personal names which are/were associated with Black people).

In and of itself, the use of a particular genre of music that is (or was) considered to be a genre of "Black music" -in this case Irving Berlin's "Alexander's Ragtime Band" - is another way in which that composer, and others, used/use Black (race) code or markers for their [and in their] compositions.

*"Black" here refers to African Americans.

The content of this post is presented for folkloric, historical, sociological, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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LYRICS: ALEXANDER'S RAGTIME BAND"
(Irving Berlin)

Come on and hear, come on and hear,
It's the best band in the land.
They can play a bugle call like you never heard before,
So natural that you wanna go to war,
That's just the bestest band what am,
Honey lamb.
Come on along, come on along,
Let me take you by the hand
Up to the man, up to the man
Who's the leader of the band.
And if you care to hear the "Swanee River"
Played in ragtime,
Come on and hear, come on and hear,
Alexander's Ragtime Band.

Verse Two:
Oh ma honey, oh ma honey,
There's a fiddle with notes that screeches
Like a chicken, like a chicken,
And the clarinet is a colored pet;
Come and listen, come and listen
To a classical band what's peaches
Come now, somehow,
Better hurry along!

Source: http://www.benandbrad.com/alexander.html

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COMMENTS ABOUT THE USE OF BLACK MARKERS IN "ALEXANDER'S RAGTIME BAND"
From http://www.benandbrad.com/alexander.html "Alexander's Ragtime Band" at One Hundred by Benjamin Sears & Bradford Conner
"March 18, 2011 will be the one hundredth anniversary of Irving Berlin's hit song "Alexander's Ragtime Band." The song's immediate and enduring popularity are now legendary...

Piano rags and the songs called ragtime feature a rhythmic pattern of an accented weak beat, along with a regular short-long-short pattern of notes. Both had their roots in the cakewalk popular in the late nineteenth century. Generally, in the early twentieth century the term "ragtime" covered a wide range of "songs and pieces for instrumental ensembles, particularly marching or concert bands."

One simple definition of "ragtime" was music that "has to do with the Negro."10 Music having "to do with the Negro" is another aspect of how "Alexander's Ragtime Band" was perceived by contemporaries. One genre of popular song in the early twentieth century was the "coon song," a term fortunately now lost.11 Songs dealing with various ethnicities – in particular Irish, Asians, Jews, Negroes, all usually in a derogatory fashion – were common currency in that era. "Alexander's Ragtime Band" has been considered by many to be a coon song, and arguments have been made that 1911 audiences perceived it as such.

"Alexander, Don't You Love Your Baby No More?"

Lawrence Bergreen gives a short history of the name "Alexander" as an ethnic marker (as opposed to the villainous connection made by Woollcott). "The idea behind the song derived from a long line of 'Alexander' songs instigated by Harry Von Tilzer in 1902, and he, in turn, had borrowed the Alexander character from a popular turn-of-the-century minstrel act, Montgomery and Stone. The two white entertainers, who performed in blackface, were sure to get a laugh whenever they started calling each other 'Alexander,' a name their audiences considered too grand for a black man."12
…By Bergreen's definition, audiences in 1911 automatically understood that "Alexander's Ragtime Band" was a coon song by simple virtue of the name Alexander in the title. Berlin had already used that name as a racial marker, in keeping with that cultural norm, when he wrote "Alexander and His Clarinet" in May, 1910, a song clearly about a black protagonist. As Bergreen explains it, "When Berlin and Snyder sat down to write a raunchy 'coon' number entitled 'Alexander and His Clarinet,' they were describing, with the help of numerous double entendres, yet another highly sexed 'coon”"...
-snip-
I consider that entire article to be a very interesting read. Were it not for the limitations imposed by this blog format & the fair market guidelines (which I hope that I've not exceeded), I would have quoted more of that article. Note, for example, that Irving Berlin & other composers - presumably with Berlin's permission, capitolized on the tremendous popularity of "Alexander's Ragtime Band" and composed a number of other "Alexander" songs. Two examples of those songs are "When Alexander Takes His Ragtime Band to France" and "Alexander’s Band Is Back In Dixieland".
-snip-
From http://en.wikipedia.org/wiki/Alexander's_Ragtime_Band
"The opening lines establish the African-American context:
Oh ma honey . . . ain't you goin' to the leaderman, the ragged meter man
and:
If you care to hear the Swanee River played in ragtime

The new style included new ways of playing traditional instruments as well:
There's a fiddle with notes that screeches

Like a chicken

And the clarinet is a colored pet"

****
A LIST OF & MY COMMENTS ABOUT BLACK MARKERS "ALEXANDER'S RAGTIME BAND"
1. The use of the genre name "Ragtime" [Read comments in the Ben & Brad article whose link is above.]

2. The purposeful use of the name "Alexander"
From the Ben & Brad article quoted above "The two white entertainers, who performed in blackface, were sure to get a laugh whenever they started calling each other 'Alexander,' a name their audiences considered too grand for a black man."

Prior to reading that article by Benjamin Sears & Bradford Conner, I wasn't aware that the name "Alexander" was once considered to be a Black marker. That quote connects the name "Alexander" to the "Zip Coon" trope. The minstrel characteer "Zip Coon" is a Black dandy who was considered laughable because he unsuccessfully tried to imitate "his betters" (meaning White middle class & upper class men) by putting on citified airs. Click http://pancocojams.blogspot.com/2011/10/deconstructing-caricature-of-zip-coon.html for a pancocojams post about Zip Coon.

3. The use of the colloquial "wanna" instead of "want to" in the line "So natural that you wanna go to war"

4 & 5. The use of African American Vernacular English grammar & African American Vernacular English phrasing in the line "That's just the bestest band what am, Honey lamb.

6. The use of the phrase "ma [my] honey

7. The repetition of "ma honey" and other phrases...
It's not just the use of certain phrases, but also the repetition of those phrases in "Alexander's Ragtime Band" which mark those phrases as referring to and being spoken by Black people. The repeated words in that song are "Oh ma honey, oh ma honey", "Come on and hear, come on and hear", "Come on along", "come on along", "Up to the man, up to the man", "Like a chicken, like a chicken" and "Come and listen, come and listen".

Besides being a rhythmic device, it seems to me that the use of repeateed phrases served to reinforce the belittling perceptions that many White folks of that time had about Black people - that they (we) were so simple minded that we needed to repeat what we said.

8. The reference to the song "Swanee River"
This song envokes Southern culture, and Southern culture envokes Black folks. The addition that "Swanee River" was "Played in ragtime", reinforces that Black marker.

9. Using "country" terms and comparisons: "There's a fiddle with notes that screeches Like a chicken, like a chicken,

10. Referring to "the clarinet" as a "colored pet" [Note that "Colored people" was a referent for Black Americans. A "colored pet" can be an oblique way of saying a favorite musical instrument of Colored people.]

11. The use of African American Vernacular English grammar in the line "To a classical band what's peaches". [meaning "that preaches"; that has as much intensity as a Black sermon.]

12. The use of the internal rhyme "Come now, somehow"

13. The use of the colloquial phrase "Better hurry along!"
-snip-
The reference to the bugle call being "so natural" may also be a Black marker in that some White folks considered/consider Black artistic expertise to be the result of natural talent alone and not talent plus skill that comes from wood shedding (diligent practicing).

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FEATURED VIDEO: Alice Faye sings Alexander's Ragtime Band



joehb123, Uploaded on Jan 13, 2012
Check out the shoes she is wearing !!!!!!

Movie by Fox is Alexander's Ragtime Band
and music is by Irving Berlin.

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RELATED LINKS
http://www.ebay.com/itm/Alexanders-Back-From-Dixie-RAG-1917-Black-Americana-/370370978022 "Alexander's Back From Dixie"
This link leads to a drawing of Black drum major marching in front of a large Black brass band which is parading down an American street.

**
http://www.mudcat.org/thread.cfm?threadid=151811&messages=72 "Folklore: Pickaninny in closet"
Hat tip to MorwenEdhelwen1 for providing a link in one of her comments in that discussion thread to the above mentioned article by Benjamin Sears & Bradford Conner about Irving Berlin's "Alexander's Ragtime Band".

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Thanks to the composer of this featured song. Thanks also to those who are quoted in this post, thanks to those performers who appeared in the video and thanks to the publisher of the featured video.

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Deconstructing The Stereotype Of Black People As Apes & Monkeys

Edited by Azizi Powell

I was motivated to publish this post as a result of reading about the Australian football (soccer) player Adam Goodes who was called "monkey" by a 13 year old girl during a game during that nation's week dedicated to honoring indigenous athletes.

Here's a video of an interview of that player in which he talks about that incident:

Adam Goodes response to a racist taunt, unedited.



Published on May 25, 2013

20 years after Nicky Winmar took a historic stand against racist taunts from the crowd, a spectator again hurled racist abuse at AFL star Adam Goodes.

It happened a day after the Australian Football League launched the indigenous round, intended to celebrate the role of aboriginal players.

This was Adam Goodes's response. This video is the unedited news conference.
-snip-
In that interview Adam Goodes talked about how hurtful it was to him, his family, and other Black people to be called ape or monkey. He repeatedly thanked his fellow players and others for the support that he has been given and asked for support for the 13 year old who called him an ape. Goodes indicated that he thought that the girl was repeating what she had heard and didn't understand what such a taunt meant.

Click http://www.heraldsun.com.au/sport/afl/adam-goodes-full-racism-press-conference-transcript/story-fni5fan7-1226650424034 for a full transcript of that interview.

Click http://www.dailykos.com/story/2013/05/27/1211965/-13-yo-Australian-Spectator-Thrown-Out-of-Football-Stadium-For-Racist-Remark for a discussion about that particular incident & about other incidents in which Black or Brown people are called apes or monkeys.

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That incident motivated me to surf the internet to find information about the history of the stereotypess of Black peopel as apes & monkeys. Here's an excerpt of one article that I found:
From http://www.authentichistory.com/diversity/african/3-coon/6-monkey/
"A hateful association of Blacks with apes and monkeys was yet another way that the antebellum South justified slavery. Blacks were considered by some to be more simian than human, and therefore had no self-evident rights including freedom…The general acceptance of the evolutionary theories of Charles Darwin were easily twisted into a means of identifying further “evidence” of the primitive status of Blacks...

The depiction of Blacks as apes and monkeys found expression in mainstream popular culture around the turn of the century*, especially in post cards. Often it was the zip or urban coon that was being caricatured, for the amusement of white consumers. Note the simian appearance of Black Americans in each of the postcards to the left, and how they have been dandified. These images are intended to be ironic, and to cater to the notion that Black coons are too stupid to understand that their efforts to assimilate into white culture only emphasize their inherent inferiority."
-snip-
No century was specified in that paragraph, but given the references to the late 1800s, I think that that sentence refers to the 20th century.

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There are numerous online documentation in the United States, Europe, and elsewhere of Black people being depicted as apes or monkeys, beng called apes or monkeys, and/or having banana peels thrown at them, alluded to this ape/monkey stereotype. Here's an excerpt from one website:
http://blackathlete.net/2012/11/king-kong-nuthin-me-monkey-business-sports-politcs/
"...this type of blatant in your face racism, especially coming from England, where the 2012 Olympic games were held, is almost the norm.

Just consider the racist history of how Black athletes are mocked, especially Black soccer players during soccer matches in England,Italy and Spain, when they are insulted by fans, who make monkey chants while they play.

Matter of fact, just last year, the Brazilian legend Roberto Carlos walked off the field when a banana was thrown toward him at a league match in Russia.

This is racism in its purest and rawest form.

Unfortunately, however, this evil practice and behavior of throwing bananas at Black athletes has even occurred during a NHL (National Hockey League)game as well.

For instance, a spectator threw a banana at Philadelphia Flyers forward Wayne Simmonds during an overtime shootout attempt during a the Flyers’ preseason game against the Detroit Red Wings in London, Ontario.

This, unfortunately, is not an isolated incident.

Why? Because former Carolina Hurricanes goaltender Kevin Weekes had a banana thrown at him during a 2002 playoff series with the Montreal Canadians in Montreal as well.

Yeah, the more things change; the more they stay the same.

Because, unbelievably, just this year, during the Republican National Convention in Tampa, it showed up again, when Patricia Carroll, a Black camerawoman who works for CNN had peanuts thrown at her by two Caucasian males, who shouted at her “this is what we feed animals.”...

the real source of this fear of the Planet of Apes, is Barack Hussein Obama, who has had to experience the same type of racist name-calling that Black athletes like Jackie Robinson had to endured when he integrated Major League in April 15, 1947.

Obama, in fact, was called Curious George, who is cartoon monkey by South Carolina political consultant, Sen. Diane Black on Twitter the day after the election in 2008.

Plus, he was portrayed as a gorilla by NY Post cartoonist Sean Delonas who depicted two policemen, one with smoking gun, standing over a dead chimpanzee with the words, “They’ll have to find someone else to write the next stimulus bill.”

****
Given the history of Black people (and Brown people) being called apes and monkeys as a short-hand way of saying that we are more simian that human, it's surprising that the first historically Black (African American) Greek lettered fraternity that is still in existence Alpha Phi Alpha Fraternity, Inc. has adopted apes a its unofficial mascot.

It's clear from watching videos of Alpha Phi Alpha Fraternity, Inc. (A Phi A; Alphas) step shows & strolls that persons associated with that fraternity consider apes as their mascot, symbol, or icon. That this symbolism is unofficial is suggested by the fact that there doesn't appear to be an information about A Phi A and apes on that organization's website http://www.alpha-phi-alpha.com or on the Wikipedia page about that organization http://en.wikipedia.org/wiki/Alpha_Phi_Alpha.

Note this overview from that Wikipedia page:
"Alpha Phi Alpha (ΑΦΑ) is the first Black, Inter-Collegiate Greek-Lettered fraternity. It was founded on December 4, 1906 at Cornell University in Ithaca, New York. Its founders are known as the "Seven Jewels". Alpha Phi Alpha developed a model that was used by the many Black Greek Letter Organizations (BGLOs) that soon followed in its footsteps. It employs an icon from Ancient Egypt, the Great Sphinx of Giza as its symbol, and its aims are "manly deeds, scholarship, and love for all mankind," and its motto is First of All, Servants of All, We Shall Transcend All."...
-snip-
The positive association of Alphas and apes is clear in the beginning portion of this Alpha Phi Alpha step show video:

Alpha Phi Alpha WIN 2012 Atlanta Greek Picnic step show



Atlanta Greek Picnic,Published on Jun 17, 2012
Alpha Phi Alpha WIN 2012 Atlanta Greek Picnic $10,000 step show
-snip-
In a portion of that video (around 1:42 to around 2:10) & in some other A Phi A step routines, Alphas act like apes. They crouch down and jump up & down like apes. They hold their arms to the side like apes, hit their chest & hit the ground in front of where they are standing. And they make ape sounds while looking menacing. In some videos of Alpha strolls [party walks] one or more members of Alpha Phi Alpha fraternity wear a gorilla mask.

Here are two comments from viewers of the step show video that is featured above:

http://www.youtube.com/watch?v=fjy2gHKIaqk
"MY BLACK MY BLACK MY BBBBBBBBBLACK!
A Phi to the Apes! Congrats bruhs!"
-Santwon Hines, 2012
**
"thats how APES do it . great performance PHRAT . you APES did your thing ."
PHROZEN spr' 12
Gamma Kappa
Miles College
-tri66z, 2012
-snip-
My guess is that the A Phi A's unofficial adoption of the ape was two-fold: 1. because that word is close in sound to that organization's Greek letter name & 2. because the ape is associated with the continent of Africa. Note that the Great Sphinx of Giza is that Alpha Phi Alpha's official symbol, and that organization prides itself on its connection to Egypt and Ethiopia. [Wikipedia pages, and official website links given above]

My guess also is that the Alpha's adoption of the ape as a mascot or symbol is relatively new. I think that this may have occurred in the 1990s or maybe a little earlier in the 1980s. Although I was actively associated with historically Black Greek lettered organizations in the late 1960s-as a member of Alpha Kappa Alpha Sorority, Inc [Gamma Zeta chapter, 1967], I don't remember Alphas being associated with apes then. I don't recall Alphas having the ape as their mascot in the 1970s and 1980s, but I was and still am an inactive Greek, and didn't keep up with what was going on in Greek organizations. I didn't learn about the Alphas association with the ape characterization until I saw YouTube videos of Alphas step shows & (Alpha) ape walk.

Maybe the Alphas rationalize their adoption of the ape as their animal mascot as reclaiming that animal and taking the negativity out of its connotatiions - the same way that some Black people rationalize their use of the pejorative now known as "the n word". I don't buy either claim.

In light of the fact that Black and Brown people have been insulted & demeaned and continue to be insulted and demeaned by being characterized and called apes or monkeys, having banana peels thrown at us, and/or having monkey sounds directed to us, I strongly question the efficacy and wisdom of Alpha Phi Alpha Fraternity, Inc. chosing the ape as their mascot, regardless of whether that choice is official or unofficial.

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A White & A Black Version of The Song "Rufus Rastus Johnson Brown"

Edited by Azizi Powell

This post is Part II of a two part series on two versions of song that are known as "Rufus Rastus Johnson Brown". Part II features the lyrics of and sound files of these two songs.

Click http://pancocojams.blogspot.com/2013/03/a-textual-analysis-of-two-versions-of.html for Part I of this series. Part I presents my textual analysis of the original 1905 lyrics of "What You Goin' Do When the Rent Comes 'Round?" (Rufus Rastus Johnson Brown) and the 1969 Rufus Thomas version of "Rufus Rastus Johnson Brown".

The content of this post is presented for historical, folkloric, and sociological purposes.

All copyrights remain with their owners.

FEATURED SOUND FILE AND LYRICS
"Rufus Rastas Johnson Brown" (Von Tilzer) Ragtime song by Arthur Collins Victor 4432 C 1905



EMGColone, Published on Jun 3, 2012

"What you going to do when the Rent comes 'Round " Ragtime Song sung by Arthur Collins Victor 4432 [song starts at .31]
-snip-
LYRICS:

What You Goin' To Do When the Rent Comes 'Round? (Rufus Rastas Johnson Brown)
music by Harry von Tilzer; words by Andrew B. Sterling

First verse:
Who dat a knockin' at the door below,
Who dat a shivrin' in the hail and snow,
I can hear you grumblin' Mister Rufus Brown,
Just keep on a knockin' babe, I won't come down,
I wants to tell you that you can't get in,
Have you been a gamblin'
Honey, did you win?
what's that you tell me,
coon you lost your breath?
I hopes you freezes to death

(Chorus)

Rufus Rastus Johnson Brown,
what you goin' to do when the rent comes ‘round,
What you goin' to say,
how you goin' to pay,
You'll never have a bit of sense till judgement day;
You know, I know, rent means dough,
Landlord's goin' to put us out in the snow,
Rufus Rastus Johnson Brown,
what you goin' to do when the rent comes ‘round.

Rufus Rastus Johnson Brown,
what you goin' to do when the rent comes ‘round,
What you goin' to say,
how you goin' to pay,
You'll never have a bit of sense till judgement day;
You know, I know, rent means dough,
Landlord's goin' to put us out in the snow,
Rufus Rastus Johnson Brown,
what you goin’ to do when the rent comes ‘round.

Second verse:
Keep on a bangin’ on the old front door,
In just a minute babe you’ll hear me snore,
If I goes to bed without a bite or sup,
You will be an icicle when I wakes up,
Where’s all the money that you said you’d bring,
Melted all away just like the snow last Spring,
Rufus I loves you, but this serves you right,
Guess that’s sufficient, “goodnight.”

(Chorus)

Disclaimer:
The derogatory terms, images, and ideas that appear in some of this sheet music are not condoned by the University of Mississippi. They do represent the attitudes of a number of Americans at the times the songs were published. As such, it is hoped that the sheet music in this collection can aid students of music, history, and other disciplines to better understand popular American music and racial stereotypes from the 19th- and early 20th-centuries.
http://clio.lib.olemiss.edu/cdm/singleitem/collection/sharris/id/1645/rec/6
item date 1905
-snip-
Click http://levysheetmusic.mse.jhu.edu/levy-cgi/display.cgi?id=150a.018.000;pages=4;range=0-3 for a larger image of this song's cover. The cover shows a drawing of an urban, middle age Black couple standing outside a house. The couple are wearing what I would call "dress up" clothes. Both the man & the woman are drawn with large, red lips, and the man has a cigar in his mouth.

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Rufus Thomas -- Rufus Rastus Johnson Brown



HoYeahcorp, Published on Oct 13, 2012

"Do The Funky Chicken"Album.
1969.
-snip-
LYRICS: RUFUS RASTUS JOHNSON BROWN
(Rufus Thomas)

Background singers -Oh! Rastas! [with additional words ???]
Lead Singer: Rufus Rastus Johnson Brown,
what you goin' to do when the rent come around,
Second Male voice: “I don’t know. I don’t know”.
Ain’t got no money, you can’t pay.
Ain’t gonna have no money till judgement day.
Second male voice: I’m broke. I’m broke.
Lead:Way down yonder about a mile and a half
I can see ole Rastus comin down the path.
He’s runnin, and skippin, and a-jumpin, and a yellin.
He got a pot full of chitlins and they are smellin.
Background singers – Pot!

Lead: Oh, Rufus!
What you been doin ole Rufus
Oh, Rufus,
What in the world do you want from me.

Lead Singer & background singers
Rufus Rastus Johnson Brown,
what you goin' to do when the rent come around,
Ain’t got no money, you can’t pay.
Ain’t gonna have no money till judgment day.

Lead: Oh, Rufus!
Oh, Rufus!
Oh, Rufus,
What in the world do you want from me?

Lead Singer & background singers
Rufus Rastus Johnson Brown,
what you goin' to do when the rent come around,
Ain’t got no money, you can’t pay.
Ain’t gonna have no money till judgment day.

Lead singer,
Oh, baby!
I gotta get a movin
Oh, baby!
I gotta get a movin

Rufus Rastus
Johnson Brown,
Rufus Rastus
Johnson Brown

[The Lead singer begins to scat while the background singers continue to sing the words “Rufus Rastus Johnson Brown”]
-snip-
Transcription by Azizi Powell from the sound file. The words in brackets with question marks mean that I was unable to decipher what was sung. The words in italics mean that I'm not sure about what I transcribed. Additions & corrections are very welcome.

ADDENDUM
I want to be clear that these two versions of "Rufus Rastus Johnson Brown" aren't the only two versions of that song that exists. Some people are very familiar with versions of "Rufus Rastus etc" that ends with a portion of a song called "C. H. I. C. K. E. N." Here's a comment from the Mudcat Cafe discussion thread on "Rufus Rastus Johnson Brown" about those versions:

In case anyone is still confused about why some versions of RUFUS RASTUS… have verses about chickens and some don't—it's because two different Tin-Pan-Alley songs somehow got blended together by the folk process. The songs are:

DAT'S DE WAY TO SPELL CHICKEN by Sidney L. Perrin and Bob Slater, 1902;

and

WHAT YOU GOIN' TO DO WHEN THE RENT COMES 'ROUND? by Andrew B. Sterling and Harry Von Tilzer, 1905

http://mudcat.org/thread.cfm?threadid=50037#1451385 Origins: C-H-I-C-K-E-N. [Mudcat: Rufus Rastus; Jim Dixon, Date: 04 Apr 05 - 12:15 AM]

-snip-
That comment & both the Mudcat threads cited contain examples of the 1902 song "C-H-I-C-K-E-N".

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ACKNOWLEDGEMENT AND THANKS
Thanks to the transcriber who is quoted in this post. Thanks also to the uploaders of these sound files.

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A Textual Analysis Of Two Versions Of "Rufus Rastus Johnson Brown"

Edited by Azizi Powell

This post is Part I of a two part series on two versions of the song that are known as "Rufus Rastus Johnson Brown".

Part II features lyrics and sound files of the original 1905 version of this song and of Rufus Thomas' 1969 version of this song.

Click http://pancocojams.blogspot.com/2013/03/a-white-black-version-of-song-rufus.html for Part II of this series.

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PART I
I first heard about the 1905 Rufus Rastus Johnson Brown in 2007 when I read about him on this Mudcat Cafe discussion thread: http://mudcat.org/thread.cfm?threadid=37834 "What You Goin' Do When the Rent Comes 'Round?" [hereafter given as Mudcat: Rufus Rastus].

I confess that I really don't like the image of Rufus Rastus that was drawn by Andrew B. Sterling, that song's lyricist. Sterling's description of Rufus Rastus fits the stereotype of a Negro coon, only he-Von Tilzer-following the customs of his time-would have written "Negro" with a small "n". Sterling's caricature of Rufus Rastus was that of a good for nothing man who stayed out late, and didn't have the sense to not gamble away his rent money. Von Tilzer's Rufus Rastus also fit the stereotype of a coon in that he was dominated by his wife - or at least his woman- who is actually the one who speaks in that 1905 song. The reason why I'm not sure if that was his wife or not was that Rufus Rastus didn't have a key to his own home. But maybe in the beginning 20th century USA folks, or just struggling poor folks didn't have keys to their homes. Maybe they secured the door with some kind of latch, and that is why that 1905 Rufus Rastus Johnson Brown couldn't get in to his house unless someone from the inside let him in.

And it seems to me that Rufus Rastus must have stayed out late more than just that one time that is recorded in that song. And it seems to me that he must have done some other real triflin things for his wife -or his woman- to have such a strong reaction to him staying out late that time. Maybe Rufus Rastus had a habit of gamblin away his money, even down to the rent money. Otherwise why did she jump to that conclusion that Rufus had been gambling just because he stayed out real late that night? But am I right in detecting some acceptance of Rufus Rastus gambling since she asked him "Did you win?" and "Where’s all the money that you said you’d bring"? Isn't that enabling Rufus Rastus' gambling habit? Hmmm.

Yet, according to how Andrew B. Sterling tells it, even before she asked if Rufus Rastus had won any money from his gamblin, his wife or woman- who was given no name in that song- was clearly not happy with Rufus Rastus. She called him out of his name (by calling him a coon), and she said that he didn't have any sense, and he wouldn't have sense to judgment day-which after all, is probably still a long time coming. And Rufus Rastus' wife (I'll give her that benefit of the doubt) called her husband "Honey" and "babe" and said she loved him. But she also said that she wished that he would freeze out in the snow. That was some strange kinda love...

While Andrew B. Sterling's depicted the silent Rufus Rastus as a coon, and even has Rufus Rastus' wife referring to him as such, Sterling's characterization of Rufus Rastus also has elements of the pretentious, living above his means, urban Zip Coon. It seems to me that the main thing in the song that implies that Sterling pictured Rufus Rastus as a Zip Coon was the fact that he gave that character four names instead of a total of three names that most Americans have. Three names - regular. Four names - pretentious. Not only that, I'm sure that it was no accident that Andrew B. Sterling gave that character the names "Rufus Rastus Johnson Brown".

It's possible that in 1905 the name "Rufus" didn't bring to mind a picture of a poor, country Black man. However, although I only have anecdotal proof to back up this assertion, I believe that the name "Rufus" has carried those connotations for some time. My claim that the name "Rufus" is largely associated with Black males is supported by this comment by a blogger on that Mudcat Folk & Blues discussion thread that I referred to earlier:

In _A Death in the Family_ by James Agee, a little white boy whose name happens to be Rufus is taunted by the neighborhood bullies for having a "n****r name"*, and they use that song. That would have been about 1915.

Then there was

"What does you lahk bestes', Rastus?"
"Ah lahks asbestos, Rufus."

So, yes, the names carry some baggage. Maybe they will manage to shed it by & by." [Mudcat: Rufus Rastus; Joe_F, Date: 11 Sep 07 - 09:21 PM]

-snip-
* The "n word" is fully spelled out in this comment.

The name "Rastus" has a long tradition of being associated with Black males. From http://en.wikipedia.org/wiki/Rastus:

"Rastus" has been used as a generic, often derogatory, name for black men at least since 1880, when Joel Chandler Harris included a Black deacon named "Brer Rastus" in the first Uncle Remus book. However, "Rastus" has never been particularly popular as a Black name. For example, the 1870 census reported only 42 individuals named "Rastus" in the United States, of whom only four were Black or mulatto.[2]

Rastus—as a stereotypically happy black man, not as a particular person—became a familiar character in minstrel shows. This is documented in Every Time I Turn Around: Rite, Reversal, and the End of Blackface Minstrelsy,[3] and Racism and Poverty in Ford City, PA, 1959: Minstrel Show,[4] and in fiction such as Adventures of Rufus Rastus Brown in Darktown (1906)[5] and Rastus Comes to the Point: A Negro Farce,[6] and in popular songs such as Rastus, Take Me Back (1909)[7] and (Rufus Rastus Johnson Brown) What You Going to Do When the Rent Comes 'Round (1905),[8] on radio,[9] and in films, most notably the Rastus series of short films,[10] with titles that included How Rastus Got His Chicken[11] and Rastus Runs Amuck.[12]

I'm not sure whether in the late 19th century and the early 20th century the surnames "Johnson" and "Brown" were associated with Black Americans more than with Americans of any other race or ethnicity. However, if people make that connection now they might be surprised to know that, according to the 1990 United States census, "Johnson" is the second most common last name, and "Brown" is the fifth most common last name in that nation ("Smith" is the #2 most common last name in the USA).
http://names.mongabay.com/most_common_surnames.htm. Yet, however many White "Browns" there are, I've no doubt that Sterling selected the last name "Brown" for Rufus Rastus as a reference to that character's race. The name "Rufus Rastus Johnson Smith" doesn't have the same connotations as "Rufus Rastus Johnson Brown".

By the way, in one line of that song, another way that Rufus Rastus' wife showed her disrespect for her man was by sneeringly referring to him as "Mister Rufus Brown", and not by his full name. I read the use of the title "Mister" as a taunt, as if Rufus Rastus' wife was implying that he really wasn't man enough to use the title "Mister". And, indeed, the use of "titles" for Black Americans was a new custom, particularly in the South, where before the end of slavery, the only "honorific" that could be used for a Black adult was "auntie" or "uncle".

Before I turn to Rufus Thomas' 1969 version of "Rufus Rastus Johnson Brown", I feel compelled to note the 19th century, early 20th century stereotypical "Negro" dialect that Andrew B. Sterling used in his lyrics to that song. Sure, some poor Black folks then said "dat" instead of "that". And some Black folks - then and now-incorrectly use incorrect grammar such as "I hopes you freezes to death", "If I goes to bed without a bite or sup", and what you goin' to do when the rent comes ‘round". But non-Black Americans also use such incorrect standard Emglish grammar. Nevertheless, that dialect is associated with negative stereotypes of Black folks. And because of the negative stereotypes associated with the depiction of Rufus Rastas & his wife, including the dialectic English, I believe that it would be very problematic if this 1905 version of "Rufus Rastus Johnson Brown" were to be sung to the general public nowadays in any way except a part of an educational historical presentation.

Also, before turning to my briefer analysis of Rufus Thomas' Rufus Rastus song, here's an interesting comment from another Mudcat blogger which provides some background about how Harry Von Tilzer came up with the idea for this song:

This rent lament is a classic from the late 19th century minstrel song school, and is also known by the compound name of its protagonist, Rufus Rastus Johnson Brown. Music historian Sigmund Spaeth describes how the author became inspired to write this song:

Harry Von Tilzer was standing on the platform of the railway station at Miami listening to the conversation of two negroes. The woman was berating the man, and after using every possible adjective to describe his low-down shiftlessness, she worked up to a climax with the question, "What you goin' to do when de rent comes 'round?" The rest was easy." [Mudcat: Rufus Rastus; Charley Noble, Date: 01 Sep 01 - 03:25 PM]

In contrast to that 1905 depiction of Rufus Rastus Johnson Brown, Rufus Thomas' 1969 character of the same name is much more sympathetically drawn. In that 1969 song there is no mention of Rufus Rastus gambling, nor is there any wife taunting him- callin him out of his name- and refusing to let him in out of the cold. Unlike that earlier song, in Rufus Thomas' record, Rufus Rastus Johnson Brown actually says something. He says "I'm broke. I'm broke". And as any American of any race or ethnicity could tell you, there's more ways of being broke in the US of A then gambling. However, I get the impression from that R&B song that Rufus Rastus Johnson Brown must have been broke quite often, and that the lead singer is used to him coming to him to give him some money to help him pay his rent and his other bills. Yet, the picture I get from this song is that the lead singer is shaking his head and saying to himself or to Rufus Rastus "What am I going to do with you". He's not taunting Rufus Rastus, refusing to help him, or wishing that Rufus Rastus were dead.

Rufus Thomas' song is written in a form of African American vernacular English, for example the lines "Ain’t got no money, you can’t pay/Ain’t gonna have no money till judgment day." Then again, the Rufus Rastus character in that 1969 song says "I'm broke" and not "I'se broke". And the lead singer says "what you goin' to do when the rent come around" and not "what youse gwine do when the rent come 'round". As a 20th/21st century African American, that latter pronuciation and the rest of that 19th century/early 20th century "Negro dialect" associated with that 1905 "Rufus Rastas" song isn't at all funny to me.

I don't think that Rufus Thomas' depiction of Rufus Rastus Johnson Brown has any elements of Zip Coon. Those four names & some of the lyrics are lifted from that earlier song, and those names don't appear to be meant to convey pretentiousness as I believe they are meant to convey in that 1905 song. But, while I wouldn't say that Rufus Thomas' depiction of Rufus Rastus Johnson Brown is that of a coon, I believe that that 1969 depiction definitely has some coonish elements. Notice that the 1969 Rufus Rastus isn't described as a hard-working man or a man who has tried to find work and for some reason is down on his luck. Instead, Rufus Thomas says that "I can see ole Rastus comin down the path/He’s runnin, and skippin, and a-jumpin, and a yellin/He got a pot full of chitlins and they are smellin." That description fits the happy-go-lucky, irresponsible coon stereotype. However, when Rufus Thomas refers to Rufus Rastus as "ole Rufus", I think that word "ole" softens that description, and shows that singer has some affection for that man. (Of course, that may be an incorrect transcription of that word, and Rufus Thomas may have said "old" instead of "ole". Even so, I think that word also conveys some affection toward Rufus Rastus".)

I wonder whether the lead voice in that 1969 song was supposed to be a friend of Rufus Rastus or if he was supposed to be kin to Rufus Rastus. If that lead voice and Rufus Rastus were related, then the implication that Rufus Rastus hoped to get help from that lead voice fits the findings in one recent study that one reason why the household wealth of middle class Black American families is so much lower than the household wealth of middle class White American families is that Black American families give more money to assist their poor relatives. [http://thesocietypages.org/socimages/2013/02/18/family-members-in-need/ Family Members in Need: Why Some Middle Class Blacks Can’t Get Ahead, Lisa Wade, Feb 18, 2013, at 12:00 pm]

There are many causes for poverty besides people gambling their money and otherwise being irresponsible. That brings me to my first reaction to the 1905 song "What You Goin' To Do When the Rent Comes 'Round? (Rufus Rastas Johnson Brown)" when I first read about it on that Mudcat Cafe discussion thread that I've previously cited:

...Fwiw, I've never heard this song or the chicken song. And I doubt very much that many contemporary African Americans sing this song as the name "Rufus Rastus Johnson Brown" is quite stereotypical and the names "Rufus" and "Rastus" in particular remind folks of what weren't good ole days for many people. Maybe Rufus Rastus would have been able to pay his rent if there wasn't so much institutional and personal racism around.

And yes, I know this song is to be sung just for fun. But still....
[Mudcat: Rufus Rastus; Azizi, Date: 11 Sep 07 - 02:39 PM]

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RELATED LINKS
Information about the coon and Zip Coon stereotypes are given in these articles http://www.ferris.edu/htmls/news/jimcrow/coon/ and http://pancocojams.blogspot.com/2011/10/deconstructing-caricature-of-zip-coon.html "Deconstructing The Caricature of Zip Coon & Other Minstrel Black Dandies"

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ACKNOWLEGEMENT AND THANKS
I can't bring myself to thank the composer & lyricists of that 1905 song. Yet, I recognize that in the early 20th century, the characterizations of Black people found in that song may have even been thought to be progressive. At least, the n word wasn't used in that Rufus Rastus Johnson Brown song.

I do acknowlege Rufus Thomas' writing and performance & I thank him for his musical legacy. I also thank each of the commenters and authors who are quoted in this post.

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