Special Collections X Black Atticus
For this exhibit, early 20th century portraits of Black Americans are framed with sheet music representing popular music written, composed, performed, and/or popularized by Black musicians in the early 20th century. Black musicians have a rich musical landscape in the United States, as people of African descent created new American musical genres, mixing African musical traditions with those of Europe and the Americas during enslavement. By the late 19th century and early 20th century, Black Musicians had already created various forms of African American folk music genres like ragtime, sacred music, blues, and jazz. (1)
This iteration of the Boundless project features Black Atticus, a Knoxville-based artist who has been on the local hip-hop scene for the past decade. Inspired by his Southern roots, Black Atticus has been called “one of the most heartfelt voices of the Southern hip-hop movement. His performances seamlessly weave the art of storytelling with electric rhyme slaying over moody baselines and drum patterns.” (2)
Portraits of Black Americans, circa. early 20th Century
Dr. C.S. Boyd Photograph Collection, MS-2129
University of Tennessee Libraries, Knoxville
Betsey B. Creekmore Special Collections & University Archives
When American mass media exploded in the late 19th century with racist and degrading images of Black Americans, the art of portraiture became a powerful tool for defying prevalent stereotypes, allowing working-class Black Americans to illustrate their humanity and the vitality of Black family life in the decades following emancipation.
To defy attacks on Black manhood, many Black families and individuals either centered portraits of themselves around the men/boys in their families or used props like books to represent images of intelligent, benevolent, and gentle masculinity. Demonstrably, Black women emphasized their respectability and decorum, defying the popular narratives and stereotypes that oversexualized and subordinated Black women.
However, beyond the use of photography as a tool for resistance, portraits of Black Americans from the early 20th century more so demonstrate the ways in which working-class, middle class, and elite Black families and individuals were essentially rendered invisible in mainstream American culture. These portraits reveal the truth behind early 20th century Black families—a desire for security, stability, and the chance to nurture and support both themselves and their children despite perpetual narratives surrounding the Black American identity.
The seven portraits selected for the exhibition illustrate examples of early 20th century Black portraiture in Knoxville and the broader East Tennessee Area. (3)
Ain’t Got Nobody And Nobody Cares for Me, A “Joe Davis” Publication Songbook, 1931
20th Century Sheet Music, MS-3876 (reproduction)
Ain’t Got Nobody And Nobody Cares for Me is a Blues foxtrot written by Roger A. Graham, composed by Spencer Williams, and published by Roger Graham Music Publishing. In the 20th century, this song was extremely popular, and recorded many times by various generations, in styles ranging from pop to jazz, to country music.
To listen to a recording of this song, use your phone camera to scan the QR code or visit: https://www.youtube.com/watch?v=rx-tKOaRmxk
Sweethearts on Parade, A “Joe Davis” Publication Songbook, 1935
20th Century Sheet Music, MS-3876 (reproduction)
The original arrangement of Sweethearts on Parade was a Fox-Trot written by Carmen Lombardo and Charles Newman, with a later interpretation and arrangement written by Victor Arden, both published by Joe Davis.
To listen to a recording of this song, use your phone camera to scan the QR code or visit: https://www.youtube.com/watch?v=bj8jOBdDbm4
Moonlight Down in Lovers’ Lane, A “Joe Davis” Publication Songbook, 1935
20th Century Sheet Music, MS-3876 (reproduction)
Moonlight Down in Lovers’ Lane is a waltz was written by George Pitman and Barley Costello, composed by Max Kortlander, and published by Joe Davis.
To listen to a recording of this song, use your phone camera to scan the QR code or visit: https://www.youtube.com/watch?v=LQ-SgmXiYF4
Hail Dat Beautiful Star, Fisk Jubilee Singers, 1884
Jubilee Songs and Plantation Melodies Sheet Music, MS-2928 (reproduction)
The Jubilee Singers established themselves in 1871 to tour America, raising money for their school Fisk University, a historically Black university established 1866 in Nashville, Tenn. The group popularized African American spirituals which also helped to preserve these songs.
On Revival Day, A “Joe Davis” Publication Songbook, 1935
20th Century Sheet Music, MS-3876 (reproduction)
On Revival Day is a rhythmic spiritual written and composed by Andy Razaf, and then further popularized by Bessie Smith & The Bessemer Singers.
To listen to a recording of this song, use your phone camera to scan the QR code or visit: https://www.youtube.com/watch?v=NFxpKhblXJ0&t=1s
The Darktown Stutters’ Ball, by Spencer Williams, 1917
20th Century Sheet Music, MS-3876 (reproduction)
The Darktown Strutters’ Ball is a Fox Trot song written and composed by Shelton Brooks. Despite being first published in 1917, The Darktown Strutters’ Ball has been recorded many times and is considered a pop and jazz standard, being inducted into the Grammy Hall of Fame in 2006.
To listen to a recording of this song, use your phone camera to scan the QR code or visit: https://www.youtube.com/watch?v=zSpxUzwEqpE
(1) For more information on the history of Black American musical traditions, see:
https://music.si.edu/story/musical-crossroads
(2) For more information about the Boundless Project, please visit: https://volumes.lib.utk.edu/boundless/ & https://volumes.lib.utk.edu/news/boundless-black-atticus/.
(3) For more details about early 20th century Black American portraiture see: