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São Benedito! Como gostaria de ter escrito tudo isto!
Bessie Smith era um monstro de uma mulher. Eu não quero dizer que ela era um modelo do mal desumano ou nada, mais na linha do esportivo admiro que diga: “que era um monstro de uma maquina”. Grande em sua estatura física, em seus apetites, e em todos os aspectos do seu desempenho, ela se elevou sobre a competição, ou melhor, desmantelava por isso com sua enormidade, a voz que o mundo tremeu. E por ai ele vai descrevendo, veja abaixo.
Bessie Smith, “Nobody Knows You When You’re Down And Out”
(Jimmy Cox)
Columbia 3176D, 1929
Bessie Smith was a monster of a woman. I don’t mean she was a paragon of inhuman evil or anything, more in the line of the admiring sportscaster who says “that was a monster of a tackle.” Large in her physical stature, in her appetites, and in every aspect of her performance, she towered over the competition, or rather bulldozed through it with her enormous, world-shaking voice. Not the first of the female blues singers, she quickly became the standard, her bone-rattling moan embodying the spirit of the blues (that is, what people wanted the blues to be, which is all they ever were) much more fully than many of her sweet-voiced contemporaries, who were pop singers or even jazz singers forced into a niche by commercial requirements. Which isn’t to say that Bessie was only a blues singer; she was much more than that. The blues as we understand them today exist because of how Bessie Smith sang. Empress of the Blues, hell; she was the Goddess of the Blues. And like the blues, she was volatile, sexually omnivorous, and possessed of an unearthly, two-fisted dignity that literary academics still recoil from today (cf. Ann Douglas, Terrible Honesty: Mongrel Manhattan In The 1920s). She was also a vaudevillian, a hard-working star on the blacks-only T.O.B.A. circuit who became the highest-paid black performer of her day. Another black vaudevillian, Jimmy Cox (“the Black Charlie Chaplin”), wrote this song, which isn’t a blues but became one by the force of Bessie’s personality and is still treated that way today, when Eric Clapton plays it for audiences of rich middle-aged white males. But instead of self-pitying miserablism, in Bessie’s performance the song is one of the great ballads of the Depression, which was just getting underway as she sang. Even humming, her voice dominates the woozy, commiserating jazz band behind her. The muted trumpet solo even sounds hesitant, unsure of itself in her presence, and she easily hushes it on returning. She herself was getting to be down and out; her volatility and contempt for her condescending white audience combined to keep her off of Broadway stages where sweeter, brisker singers like Ethel Waters and Adelaide Hall were making a killing. A brief comeback in the 1930s would be cut short when, after a nasty car accident, institutionalized racism in the local hospital killed her. Mighty strange, without a doubt.
http://aceterrier.com/?page_id=551
Nobody Knows You When You’re Down and Out
“Nobody Knows You When You’re Down and Out” is a blues standard, written by Jimmy Cox in 1923. Its lyric, told from the point of view of a one-time millionaire during the Prohibition era, reflects on the fleeting nature of material wealth and the friendships that come and go with it.
From Wikipedia
Eric Clapton performed the song during 12-12-12: The Concert for Sandy Relief.
“Nobody Knows You When You’re Down And Out”
Once I lived the life of a millionaire
Spending my money honey, I didn’t care
Taking my friends out for a mighty good time
I drank that good gin, champagne and wine
Just as soon as my money got low
I couldn’t find no friends
And I had no place to go
If I ever get my hands on a dollar again,
I’m gonna hold on to it till that eagle grins
‘Cause I found out that nobody wants you
Nobody wants you when they find out
That you’re down and out
In your pocket, there’s not not one penny
And as for friends, you don’t have any
Just let you get back up on your feet again
Here they all come telling you
Their your old long-lost friend
And this I wanna tell you and about it I have no doubt
Nobody wants you
Nobody needs you
Nobody wants when you’re down and out
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