Rhetoric in the Disciplines
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LouisArmstrongandBlackandBlue.docxParkin 4
Tiffany Parkin
Music 1236-002
Required Written Project
10 October 2013
Louis Armstrong’s Rendition of “Black and Blue” and its Racial Implications
Multiple aspects of Louis Armstrong’s style in his rendition of “Black and Blue” highlight characteristics of 1920’s jazz. First, the elongated introduction gives greater opportunity for solos. Similarly, the piece is dominated by solos—both vocal and instrumental. There is only one dominant voice at a time. They switch off and support each other keeping an almost call and response technique that is common in jazz. Not only is this a significant aspect of 1920’s jazz, but this style is attributed to Armstrong as well. Also, his rendition has a more bluesy feel which begins to emerge in this particular time period. Armstrong’s style especially keeps a bluesy tone because of the full emotions which he puts into his performance.
The original construction of “Black and Blue” started due to a forceful request from Schultz, a person of financial significance. His request was for a piece of comedy, a colored girl singing about how hard it is to be black. Under the forced circumstances, Razaf sought to give the piece more meaning. The original intent of Razaf was to present it “as a piece about intra-racial prejudice between light- and darker-skinned blacks, a fact of African-American life that Razaf despised in any event and was no doubt glad to skewer in passing” (Singer 217).
Armstrong removed the first verse of the song. This first verse takes away the intra-racial aspect of the piece. Making the issue one of general African-American complaint, but he didn’t stop there. “He made a point of blunting [Black and Blue’s] confrontational edge” (Teachout 325). Armstrong wished to share his opinions, but he did not seek to further a political agenda with his music. He understands the feelings of the song, but does not want to offend others with its message. According to Meckna, Armstrong’s version “tells a sad tale but without excessive whining” (38). However, his rendition still keeps the main message of prejudice but takes some of the most striking lines away. A few of the lines are in a different order in Armstrong’s performance as well. Usually this suggests that Armstrong viewed certain lines as more significant than previous artists had recorded them. Some of the more humorous lines that are originally used to draw the audience in, are moved later in the song. Despite the melancholy style, having the humorous lines in the middle of the song delivers a more light-hearted tone to the piece rather than starting with humor and moving on to more serious lines. In addition, individual words are changed. For example, “sneer” is changed to “scorn,” while both have negative connotations sneers are a more childish gesture which seems more condescending while scorn implies a feeling of superiority on more level grounds.
Generally, Armstrong took his role as an advocate for racial tolerance and equality as a background position. He focused mostly on his music. Even stating “My life is music…they would beat me on the mouth if I marched, and without my mouth I wouldn’t be able to blow my horn” (Teachout 334). Armstrong used “Black and Blue” frequently on U.S. State Department Tours, (Meckna 38) but his deepest connection to “Black and Blue” takes place on a tour to Ghana where Nkrumah, the prime minister, had tears in his eyes. Armstrong reportedly stopped playing when he saw a girl whose appearance reminded him of his mother: reminding him of his African roots (Von Eschen, 63).
Music remained his first priority, but he did have opinions on the goings-on of racial injustice. His statements against the president’s reactions to Brown v. Board of Education and consequent actions at a school in Little Rock, Arkansas created quite a stir in the media. His interview portrayed his anger with statements such as “it’s getting so bad a colored man doesn’t have a country.” (Von Eschen, 63) and direct slights towards President Eisenhower. His language was unapologetic, and along with his refusal of the U.S. Department Soviet Tour he stated his position very clearly.
However, this instance represents more of an exception to Armstrong’s behavior rather than an indicative example. As earlier stated, his role as an advocate consisted of very little outright political movement. Louis Armstrong himself believed he was helping, but with small steps. He worked in Southern States and put up with trouble that was not his fault. He claims he was working to break down racial barriers (Teachout 325). His approach was for a battle without words—one that involves promoting “contentment and pleasure” (Teachout 325) rather than outright activism. Despite Armstrong’s belief in his role, he was called a hypocrite due to his willingness to play for segregated audiences. His clowning during performances about his skin color also clouded his reputation (Teachout 325).
Armstrong’s rendition of “Black and Blue” while expressing dissatisfaction of racial circumstances avoids direct confrontation of the issue. Similarly, Armstrong allows for his opinion of racial injustice to be known, but only to a limited extent.
Works Cited
Meckna, Michael. Satchmo, The Louis Armstrong Encyclopedia. Westport: Greenwood Press. tiffany2004. Print.
Singer, Barry. Black and Blue, The Life and Lyrics of Any Razaf. New York: Schirmer Books. tiffany1992. Print.
Von Eschen, Penny M. Satchmo Blows UP the World. Cambridge: Harvard University Press. tiffany2004. Print.
