Historical Context
This is a subset of "Yes: Caution" - return to full list.
Reevaluation: Jul 2, 2023: change from YES to YES: Lyrics & YES: Caution
This song is admissible ONLY with the omission of verse 2.
If verse 4 is sung, an appropriate MC-introduction is recommended.
The poem that would become the lyrics of this classic patriotic song was written in 1895 by feminist poet Katherine Lee Bates, who believed in community and social justice. As Lynn Sherr notes in her book America the Beautiful: The Stirring True Story Behind Our Nation's Favorite Song, “The main themes of America the Beautiful are ones Bates explored all her life: the wonder of nature, the vitality of our nation, its treasured past and infinite potential for the future.”
VERSE 2 speaks of pilgrims conquering “the wilderness” and must be omitted:
O beautiful for pilgrim feet,
Whose stern, impassioned stress
A thoroughfare for freedom beat
Across the wilderness!
Pilgrims and other colonists trod a path across land inhabited by millions of Native Americans. They and subsequent generations trod a path of destruction to the lives and way of life of the indigenous people. And while Sherr notes that Bates was aware of the near annihilation of Native Americans, elsewhere calling “the shame of the Indian,” like the “shame of the slave,” one of the “blots” staining the country’s past, she does not mention Native Americans here. The lines that complete the verse, though, do indicate her awareness and hope for redemption: America! America! God mend thine every flaw, Confirm thy soul in self-control, Thy liberty in law!
VERSE 4 (final verse) represents (as noted by Sherr) “the dreamy vision of harmony and beauty” that Bates saw in the White City of the 1893 Chicago World’s Fair, “the peaceful ideal that she hoped would appear on the other side of the century.”
O beautiful for patriot dream
That sees beyond the years
Thine alabaster cities gleam
Undimmed by human tears!
Yet for many in today’s audiences, those “alabaster cities” are too reminiscent of a racist notion of all-White cities and the reference to “undimmed by human tears” is a slap in the face to the Black and indigenous Americans who indeed left a trail of tears. As Luke Hill notes in 2012, discussing Ray Charles lauded rendition of the song:
In Charles’ version, the third verse comes first, and the second and fourth verses are dropped completely. No “pilgrim feet” with “stern impassioned stress” beating “a thoroughfare for freedom...across the wilderness”---and over the dead bodies of anyone who got in their way. No “alabaster cities” gleaming “undimmed by human tears.” Black America has never had a life undimmed by human tears."
Thus, if this 4th verse is included it must be appropriately introduced to explain the aspirational intent of Bate’s verse while noting the reality that 130+ years after it was written, we know many tears have been shed in the struggle to reach that aspirational vision, as yet unrealized.
Reevaluation: Jul 12, 2022: change from YES to YES: Caution
Harmonize the World celebrates inclusion with its message imploring us to “sing a song to your neighbor” and “harmonize the world with a song.” Yet since the inception of Sweet Adelines, there had been a de facto exclusion of Black women and shortly after this song’s release, Sweet Adelines codified these exclusionary practices with a policy that specifically excluded Black women from its membership, and took actions to actively implement that policy. The policy remained in effect until 1966. (See timeline table below for historical details.) Although the 1966 change in policy removed the barrier to membership, intentional efforts to make Sweet Adelines a more inclusive organization were not initiated until decades later.
While the message of this song is consistent with the current guiding principles within Sweet Adelines, its introduction, initial use during a time of intentional exclusion, and continued use during a time when no intentional actions were being taken to build a more inclusive organization are in direct contradiction of that message. This contradiction is a painful reminder to singers and audience members aware of our exclusionary history.
Therefore, should your ensemble decide to sing this song -- whether in a performance or at a rehearsal -- it is required that an appropriate introduction precede it, explaining the song’s history and why you have chosen to sing it.
IMPORTANT NOTE
In 2016, Sweet Adelines International officially acknowledged and took responsibility for its history of exclusion. Intentional efforts, including those listed below, were initiated to move the organization forward in a more inclusive way:
At the 2016 International Convention they presented a posthumous lifetime membership to Lana Clowes. Thus “Fifty-three years after Sweet Adelines refused any level of membership for Lana, her daughter, Valerie Clowes [a current SA member], accepted the membership award.”
A Diversity and Inclusivity task force was formed in 2016.
A Visioning Retreat was held in 2018, resulting in a series of Guiding Principles, including Diversity and Inclusion and a Culture of Belonging.
The Diversity, Equity and Inclusion Council and its two subcommittees--Chorus Toolkit and Song Assessment Tool--were born out of those Guiding Principles.
Reevaluation: May 22, 2023: change from YES to YES: Caution
This song is admissible because it does not have racist content and in fact its message is the opposite. However, ensembles should proceed with caution and deliberation in the selection and performance of this song. The lyrics are based upon excerpts from Martin Luther King Jr.’s speeches—inspiring words springing from African Americans’ struggle with racism and oppression. When an ensemble performs a song with such a strong and specific social justice message, yet has little-to-no representation of the affected marginalized group, an audience member might wonder if the ensemble truly understands the message of the song and if it is making consistent and impactful DEI efforts in educating its members and in community outreach.
This is not to say that only Black people may authentically perform this song. After all, there were many non-Black allies active in the civil rights movement (continuing through today's social justice work) and the song was written and popularized by White men (W. Earl Brown and Elvis Presley). But consider the optics of an all/mostly-White-appearing ensemble performing a song whose message is based upon the oppression of a marginalized group when there is no visible evidence of the ensemble having made efforts of inclusion (regardless of whether or not that is actually the case--this is all an audience has to go by). Especially in this circumstance, context through thoughtful MC work is highly recommended. If this is not possible (e.g. on the regional or international semi-finals contest stage) ensembles should give careful consideration as to whether or not the song is appropriate for them in that setting and if they can authentically convey its message.
Ensembles performing this song must ensure that all members understand and respect the origin of the song and the feeling being conveyed by its lyrics and message, rooted in African Americans’ civil rights struggles which continue today. Careful consideration should be given to how the song may be presented with context and a respectful musical style, consulting outside DEI resources as needed (e.g., community resources, Regional DEI group, SA’s DEIC). Elvis Presley and Della Reese each provide examples of performances with depth and emotion.
This due-diligence is critical in order for the ensemble’s performance to be more likely perceived—especially by those personally connected to the struggle from which the song originated—as authentic, true to the song’s message, and as having the appropriate gravitas of a dream yet to be realized, rather than simply a grooving, breezy, feel-good “Why don’t we all just get along?” song. If a performance misses this mark, it can be perceived by some as the ensemble making light of the meaning of the lyrics and not truly understanding its message.
(song is also rated YES: Lyrics)
This song is admissible, however, some of the original lyrics must not be included, i.e. the circled lyrics in this screenshot (as is omitted in most, if not all, barbershop arrangements).
Further, performers should take care to consider whether this song is appropriate for their group and if the group can authentically convey the excitement and vibe of the rent party atmosphere in 1930’s Harlem. We do not expect an ensemble to recreate a 1930’s Harlem “rent party” (nor should a predominantly White ensemble attempt this). Rather, our intent is for performers choosing this song to understand the history of the song and the feeling being conveyed by the lyrics/message. This would translate to a strong sense of community, freedom, joy, and abandonment of cares:
Rent parties were “celebrations with an undercurrent of desperation in the face of racism and discrimination.” It was the midst of the Great Migration during which Black Southerners escaped the terror of lynchings and Jim Crow in the South, only to be met with being “underpaid for their work and exploited for their rent, often charged 30 percent more per room than white working-class New Yorkers.” So “while much of the historic canon about rent parties focuses on their raucous joy, it was a stalking inequity that prompted them. … [R]ent parties were held by people who were in very precarious circumstances. They were acts of desperation.” At the same time, the pulse of rent parties appears as percussion beneath much of the art of the time,” including the birth of dances such as the Lindy Hop, and music and literature by the likes of Langston Hughes, Duke Ellington, Zora Neale Hurston, Billie Holiday, Louis Armstrong, Fats Waller, to name a few. See The Rent Was Too High So They Threw a Party.
This song is celebratory of Black culture in the Harlem Renaissance era, the “jazz age,” a time when African Americans built up a strong culture and community in Harlem. The jazz clubs of the Harlem Renaissance were a place where people could go to have fun, forget their cares, and truly celebrate with music and dance. Black musicians were creating a new style of music, and the Harlem Renaissance was a time where those musicians and the community who enjoyed the music could grow and thrive. (https://www.history.com/topics/roaring-twenties/harlem-renaissance)
This contrasts starkly with the “Back to Dixie” Lost Cause song tropes which describe fictitious stories of “happy Black people in the south” who loved to sing and dance. The Joint is Jumpin’ is a true reflection and celebration of a vibrant African American community and growing culture of exciting new music and dance forms. “Back to Dixie” Lost Cause song tropes constitute a fictional justification created by White people to depict enslaved people as “not having it so bad," which is egregiously false and speaks to nostalgia for and glorification of the antebellum south.
Some object to the lyric, “Grab anybody’s daughter.” However, given the context of the day, this is not misogynistic. Rather, it is a way to say “you can feel free to dance with anyone.” This contrasts with the White societal expectation of the time in which women held “dance cards” and the expectation was that a woman could only dance with the men who filled out the card. This line of the lyric is reflective of a culture that is freer, more liberated, than the White societal expectation of the times. If specific performers prefer to change the lyric, they may use their judgment in doing so.
“Every Mose is on his toes” - In the context of this song, “Mose” is a jargon term used to refer to any Black man who may be at the party described in the song. It’s just a means by which to quickly describe the characters in the song as mainly Black men—similar to saying “every Tom, Dick and Harry,” or “John Doe.”
Reevaluation: Apr 25, 2022: change from Yes to YES: Caution
While there is no evidence of this song having originated among the American enslaved, it must nevertheless be treated with the same caution as Negro Spirituals. Please ensure that all performers understand and respect the history of this song, the struggles it arose from, and the importance of the song to the African-American community.
This song originated sometime before 1933 (one of the earliest references) in Black churches and can be understood to have arisen out of the hardships borne by African Americans in the Jim Crow era. It was, in fact, adopted as an anthem of the Civil Rights Movement in the 50’s and 60’s.
Rutha Mae Harris, a member of the Freedom Singers, explained the power of song, "Music was an anchor. It kept us from being afraid. You start singing a song, and somehow, those billy clubs would not hit you. It played a very important role in the movement." reference 1939 prison recording Freedom Singers
Please consider carefully how this music can be presented with context and respect before you decide to include this music in your repertoire. Appropriate MC work is recommended.
Medley with this Song
This Little Light of Mine / Do Lord medley
(song is also rated Yes: Lyrics)
The theme of this song is a challenging one for a Sweet Adelines performance. It is from the musical, Ragtime, which touches on the very serious and emotional topics of racism, classism, anti-Semitism and sexism. The song itself and the events leading up to its performance in the musical constitute an unflinching portrayal of racism and violence towards Black people. The song’s lyrics are an imploration for justice and equity, taking place in the aftermath of the brutal slaying of a young Black woman, beaten to death by police. Given the repeated occurrences of police brutality against Black people today and throughout American history, this is a very sensitive topic.
The original staging and lyrics of this song have people of different oppressed groups singing out from their point of view. Thus, the lyric "there are negroes out there," In the context of the musical and time in which it takes place, is not problematic. But if the original song were performed, it would need to be done in a sensitive way, explaining the context and “negroes” should be replaced with “Black people.” But this line should also not be sung by non-Black performers.
Ensembles considering this song should ensure all members understand the background of the song and its relevance to today* and seriously consider if it is appropriate for performance by the ensemble. If the song is performed, carefully-considered MC work should accompany it.
*Review plot synopsis, specifically surrounding Sarah and Colehouse and view the Broadway cast performance of the song. Through thoughtful study and discussion, ensure ensemble is well-informed regarding current events of police brutality in Black communities and how it relates to this song and the musical.
Pertinent References for Context
This arrangement removes lyrics interjected by the ensemble cast in the performance of this song for the musical, Ragtime. Therefore, this song does not carry the YES: LYRICS rating. However, the YES: CAUTION rating remains. Please carefully review the research document and its Reviewers’ Note, as well as the following:
This arrangement avoids the problem arising from a Sweet Adelines ensemble singing lines from the point of view of marginalized ethnicities. However, in stripping away the interjected lyrics sung by the ensemble cast, it sanitizes the message of the brutal realities faced by Black people and the other represented groups. It is therefore critical that ensembles choosing this arrangement precede performances with MC work providing the context of the musical and the song within the musical, as noted in the Reviewer’s Note in the research document for this song.
Reevaluation: Dec 26, 2021: change from YES to YES: Caution
This song is admissible for performance, but has a rich history that should be understood by performers and elucidated in thoughtful MC work.
Tuxedo Junction was an actual place. From the mid-1920s until the mid-1950s, this two-block area served as the hub of nightlife for the surrounding predominantly Black communities. The Junction was the only venue for dining, dancing, shopping and live music that Birmingham's Black population could call its own and from it, sprung numerous musical luminaries.
Please review the research and references provided here so that appropriate context and consideration of its racial and musical history can be given to members and audiences. (reference)