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<ref name="Krasner 1995 Sum">"Parody and Double Consciousness in the Language of Early Black Musical Theatre," by David Krasner, ''[[African American Review]],'' Vol. 29, No. 2, Special Issues on The Music, Summer 1995, pps. 317–323; {{OCLC|5552846201|5855275910}} (accessible ''via'' [[JSTOR]] at {{URL|https://www.jstor.org/stable/3042310}}; subscription required)</ref> |
<ref name="Krasner 1995 Sum">"Parody and Double Consciousness in the Language of Early Black Musical Theatre," by David Krasner, ''[[African American Review]],'' Vol. 29, No. 2, Special Issues on The Music, Summer 1995, pps. 317–323; {{OCLC|5552846201|5855275910}} (accessible ''via'' [[JSTOR]] at {{URL|https://www.jstor.org/stable/3042310}}; subscription required)</ref> |
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<ref name="Barron-bio by Kiernal 2013">{{Flickr image inline link | mateox/9711998810 | "Barron's Exclusive Club, Harlem"}} (re: "Barron D. Wilkins"), by Matthew X. Kiernan, (no date; photo taken September 9, 2013) (retrieved February 24, 2020)</ref> |
<ref name="Barron-bio by Kiernal 2013">{{Flickr image inline link | mateox/9711998810 | "Barron's Exclusive Club, Harlem"}} (re: "Barron D. Wilkins"), by Matthew X. Kiernan, (no date; photo taken September 9, 2013), NYBAI13-5216 (retrieved February 24, 2020)</ref> |
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Revision as of 16:11, 24 February 2020
"Shine" history
Dabney composed several ragtimes, including:
- From His Honor the Barber, first produced by S.H. Dudley in 1909, with a notable production by Dudley in 1911 at the Majestic Theater, currently the site if the Time Warner Center; stars included Dudley and Aida Overton Walker (1880–1914), who sang "Shine"[1]
- "Shine" (©1910), R.C. McPherson (aka Cecil Mack) and Ford Dabney, publisher[i] words Cecil Mack, music by Dabney. The song (which was originally called "That's Why They Call Me Shine"). Artists who recorded "Shine" include:
| “ | According to songwriter Perry Bradford, the song was inspired by a real person named 'Shine' (possibly 'Kid Shine'), a street tough who was a friend of George Walker, and who was caught with Walker in the New York City race riot of August 1900 | ” |
| — (attribution?)[2] | ||
| “ | Not only do the lyrics echo themes in Paul Laurence Dunbar's 1895 poem 'We Wear the Mask,' the text signifies what Du Bois calls living a 'double life, with double thoughts, double duties, and double social classes ... ' The lyrics of 'Shine' draw our attention to the double consciousness of racial identity, and parody racism through inverting the position of the signifier. The signifier (Walker) inverts the signified (racial identification; i.e., names), subverting racist signification. 'Shine,' Richard Newman writes, 'is almost a song of social protest in its antiracism.'[3] | ” |
In 1924, fourteen years after "Shine" was published, Lew Brown changed the lyrics from a black man singing about himself to a shoe shine man who has a sunny outlook.
"Shine" selected discography
- Louis Armstrong (studio, March 9, 1931, Los Angeles, matrix 404421-C, Okeh 41486),
- Count Basie,
- Sidney Bechet (studio, August 25, 1953, New York, matrix BN520-4, Blue Note BLP7026),
- Bing Crosby (studio, February 29, 1932, New York, matrix 11376-A, Brunswick 6276),
- Ella Fitzgerald (studio, November 19, 1936, New York, matrix 61421-A, Decca 1062),
- Frankie Laine (studio, 1947, matrix runout 1131-7 P 19 R S, Mercury 5091).
- A cover by Django Reinhardt with vocalist sung Dooley Wilson playing Sam was included in the 1942 film Casablanca. (October 15, 1936, Paris, matrix OLA1293-1)
Scores
Chief collaborators
- As songwriters
- Cecil Mack (1873–1944); re: Shine
- Lew Brown (1893–1958)
Selected audio
- Showarama Gypsy Jazz, Magnolia Entertainment NOLA
- Dick Hyman, from the album There Will Never Be Another You, Jazz Connaisseur JCCD 9831-2, Live, Old Church (de), Boswil, Switzerland, October 25, 1998
- Bing Crosby with the The Mills Brothers, Brunswick 6276 & 6485, Matrix B11376A, recorded February 29, 1932, New York; OCLC 244487099
- Quintette du Hot Club de France: Stephane Grappelli (violin), Django Reinhardt (guitar), Joseph Reinhardt (guitar), Baro Ferret (guitar), Louis Vola (bass), Freddy Taylor, vocalist
Rollography
- Played by Lee Sims (1898–1966), United States Piano Roll Company, Roll 42089
- Ferde Grofé (1892–1972) ("assisted"), Ampico 205001-E, "recording with words"
- "Shine," fox trot, E♭[4]
Filmography
- Casablanca (1934)
- 1941 Paramount feature film: Birth of the Blues
- "That's Why They Call Me Shine"
Gotham-Attucks
- (notes)
Addresses
- 1907: 42 West 28th Street, New York, New York "Trow's General Directory of the Boroughs of Manhattan and Bronx" (part 2 of 3) (re: "Gotham-Attucks Music"), Trow Directory, Printing and Bookbinding Company , Vol. 120, July 1, 1907, p. 570
Gotham-Attucks Music Company
Personnell
- 1907
- 42 West 28th Street, New York
- Alexander Rogers, President
- Richard C. McPherson, Secretary
- (Capital $10,000)
- Directors
- Alexander Rogers
- Richard C. McPherson
- Barron D. Wilkins (1895–1900)[5]
- George W. Walker
- Bert W. Williams
- Jesse A. Shipp: 1907: 42 West 28th Street, New York, New York
- The Trow City Directory Co.'s Copartnership and Corporation Directory, Trow Directory, Printing and Bookbinding Company, Vol. 54, March 1906
Notes, copyrights, references
Notes
Copyrights
- Original copyrights
- Catalog of Copyright Entries, Part 3 Musical Compositions, New Series, Library of Congress, Copyright Office
- ^ Vol. 5, December 1910, Nos. 48–52 (1910), p. 1565"That's Why They Call Me Shine;" from His Honor the Barber, words by Cecil Mack, words by Ford Dabney; © 3 November 1910; 2 copies received 7 November 1910; Class E (musical composition) 244353; R.C. McPherson and Ford Dabney, New York
- Catalog of Copyright Entries, Third Series, Vol. 2, Part 5 A (Published Music), No. 1; Library of Congress, Copyright Office
- Vol. 5, January–June 1948 (1948), p. 424]"S-H-I-N-E" ("That's Why They Call Me Shine"); words by Cecil Mack and Lew Brown, music by Ford Dabney (new words in chorus by Elliott Shapiro); © 25 February 1948; EP29015; Shapiro, Bernstein & Co., Inc., New York
- Catalog of Copyright Entries, Third Series, Renewal Registrations – Music, Library of Congress, Copyright Office
- Copyright renewals
General references
General inline citations
- ^ Louis Armstrong – The complete guide, wikipedia, pps. 99–100
- ^ Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919, by Tim Brooks, Richard Keith Spottswood, University of Illinois Press (2004; paperback 2005), p. 395
- ^ "Parody and Double Consciousness in the Language of Early Black Musical Theatre," by David Krasner, African American Review, Vol. 29, No. 2, Special Issues on The Music, Summer 1995, pps. 317–323; OCLC 5552846201, 5855275910 (accessible via JSTOR at www
.jstor .org /stable /3042310; subscription required) - ^ Copy at the University of North Texas Libraries, "Joe M. Morris Piano Roll Collection, 1902–2006," Item 2456, re: "Shine" (piano roll), performed by Ferde Grofé, Ampico 205001-E; OCLC 956792744
- ^ "Barron's Exclusive Club, Harlem" on Flickr (re: "Barron D. Wilkins"), by Matthew X. Kiernan, (no date; photo taken September 9, 2013), NYBAI13-5216 (retrieved February 24, 2020)