Browse content similar to The Man who Brought the Blues to Britain: Big Bill Broonzy. Check below for episodes and series from the same categories and more!
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# When did you leave Heaven | 0:00:02 | 0:00:04 | |
# How did they let you go... # | 0:00:06 | 0:00:09 | |
Broonzy was the first guy I saw visually. | 0:00:09 | 0:00:13 | |
I saw him on BBC TV. | 0:00:13 | 0:00:16 | |
I was probably about seven or eight years old, | 0:00:16 | 0:00:19 | |
where he was singing When Did You Leave Heaven. | 0:00:19 | 0:00:22 | |
# But you are so divine | 0:00:22 | 0:00:26 | |
# When did you leave Heaven... # | 0:00:28 | 0:00:34 | |
It encapsulated everything I wanted to be, you know. | 0:00:34 | 0:00:37 | |
The first time I ever wanted to play a guitar and sing | 0:00:37 | 0:00:40 | |
and actually I wanted to be black at the time. | 0:00:40 | 0:00:43 | |
# It was a dream | 0:00:45 | 0:00:47 | |
# Lord, what a dream I had on my mind... # | 0:00:47 | 0:00:55 | |
Here was something that we could really identify with. | 0:00:57 | 0:01:01 | |
It was stark and simple. Very, very exciting, really. | 0:01:01 | 0:01:04 | |
We swallowed this kind of lone folk singer persona, you know. | 0:01:05 | 0:01:09 | |
We didn't find out till afterwards that he had a whole secret backlog. | 0:01:09 | 0:01:13 | |
I'd hear Big Bill Broonzy and my head would always turn | 0:01:18 | 0:01:21 | |
and I'd say, "Shut up, I'm listening to this now!" | 0:01:21 | 0:01:25 | |
Because he was my number one. | 0:01:25 | 0:01:27 | |
What the film clip did to me, it created a mythical world. | 0:01:35 | 0:01:39 | |
I was 12, 13 years old when I saw it. | 0:01:39 | 0:01:42 | |
And my ideal world is a club that's like that club. | 0:01:42 | 0:01:48 | |
Whenever I want to write something that has a certain mood, | 0:01:52 | 0:01:56 | |
I think of that image of that club. | 0:01:56 | 0:02:00 | |
I call it the Riff Club. | 0:02:01 | 0:02:03 | |
So the Big Riff starts there. | 0:02:04 | 0:02:06 | |
# I'm feelin' so good | 0:02:14 | 0:02:16 | |
# Just feelin' so good, baby... # | 0:02:16 | 0:02:18 | |
These first moving images of Big Bill Broonzy were filmed in 1951, | 0:02:18 | 0:02:23 | |
the year he brought the blues to Britain. | 0:02:23 | 0:02:26 | |
Though he would inspire a generation of musicians, | 0:02:27 | 0:02:30 | |
his earlier life was cloaked in mystery. | 0:02:30 | 0:02:34 | |
His fans believed he was an old-style Mississippi bluesman. | 0:02:34 | 0:02:37 | |
The image that was presented of him was like Sharecropper Bill. | 0:02:39 | 0:02:44 | |
And one character after a gig went up to him | 0:02:44 | 0:02:47 | |
and said, how could he possibly have come on tour, | 0:02:47 | 0:02:49 | |
shouldn't he be working on the plantation? | 0:02:49 | 0:02:52 | |
And apparently Bill said he was lucky because he had a very | 0:02:52 | 0:02:55 | |
sympathetic massa who had let him go away and play his guitar. | 0:02:55 | 0:02:59 | |
I mean, what complete bullshit. But there you go. | 0:03:00 | 0:03:03 | |
What I learned as a would-be biographer | 0:03:06 | 0:03:09 | |
when I started looking for the fact-based documentation | 0:03:09 | 0:03:14 | |
for Big Bill Broonzy's life was, in the words of Winnie the Pooh, | 0:03:14 | 0:03:19 | |
the more I looked for them, the more they weren't there. | 0:03:19 | 0:03:23 | |
Bill was always telling the truth, his truth. | 0:03:23 | 0:03:27 | |
# Cos I'm trouble in mind | 0:03:30 | 0:03:34 | |
# Babe, I'm so blue... # | 0:03:34 | 0:03:38 | |
Most British fans had never seen a live blues musician | 0:03:38 | 0:03:42 | |
from America's deep south. | 0:03:42 | 0:03:44 | |
They were entranced by Bill's charisma | 0:03:44 | 0:03:47 | |
and by the evocative lyrics of his songs. | 0:03:47 | 0:03:49 | |
# You know the sun | 0:03:49 | 0:03:52 | |
# Sun gonna shine | 0:03:52 | 0:03:56 | |
# In my back door someday. # | 0:03:56 | 0:04:00 | |
I think there was a pretty precise mind at work behind those words | 0:04:04 | 0:04:10 | |
and it was almost like Hank Williams or some of those people that | 0:04:10 | 0:04:14 | |
wrote songs that seemed really simple, | 0:04:14 | 0:04:17 | |
and underneath it there's a real truth, you know, | 0:04:17 | 0:04:19 | |
and the words are kind of hitting on something that's a lot, lot deeper. | 0:04:19 | 0:04:23 | |
# Goin' down this road now feeling bad, baby | 0:04:23 | 0:04:30 | |
# Goin' down this road feeling so low and bad | 0:04:30 | 0:04:35 | |
# I ain't goin' to be treated this way. # | 0:04:35 | 0:04:39 | |
Broonzy's music was a kind of road map of his life. | 0:04:39 | 0:04:43 | |
He was able to navigate his way across Britain | 0:04:43 | 0:04:45 | |
and then Europe by creating a network of useful contacts | 0:04:45 | 0:04:49 | |
who believed he was exactly what he appeared to be. | 0:04:49 | 0:04:52 | |
Bill was always very knowing. He was savvy. | 0:04:54 | 0:04:58 | |
He could come in and read a situation | 0:04:58 | 0:05:01 | |
and identify what course of action | 0:05:01 | 0:05:04 | |
he needed to take with the best chance of success for himself. | 0:05:04 | 0:05:08 | |
Among Bill's many admirers was a Belgian couple, | 0:05:14 | 0:05:16 | |
Margo and Yannick Bruynoghe. | 0:05:16 | 0:05:19 | |
They helped write his autobiography, | 0:05:19 | 0:05:22 | |
without realising how much of it was fiction, | 0:05:22 | 0:05:25 | |
though Big Bill Blues did hold many clues to where he came from. | 0:05:25 | 0:05:30 | |
Yannick asked Bill to put down | 0:05:32 | 0:05:35 | |
whatever he wanted to put down | 0:05:35 | 0:05:40 | |
about blues, about him, | 0:05:40 | 0:05:42 | |
about the blues, about the other blues singers. | 0:05:42 | 0:05:45 | |
He said, "You take a pen and you write down everything. | 0:05:45 | 0:05:49 | |
"The thing is to write down what he's told." | 0:05:49 | 0:05:53 | |
If it's true or not, that wasn't our problem. | 0:05:53 | 0:05:57 | |
'If anybody asks me if I'm from Mississippi, I'll say yes, | 0:06:01 | 0:06:04 | |
'but I don't like to talk about it. | 0:06:04 | 0:06:06 | |
'Because I was born poor, had to work and do what the white man told me. | 0:06:06 | 0:06:11 | |
'So I've been playin' for those white people for a long time.' | 0:06:15 | 0:06:19 | |
The place and date of Broonzy's birth have been | 0:06:22 | 0:06:25 | |
the subject of conjecture. | 0:06:25 | 0:06:27 | |
The family register says his name was Lee Conley Bradley, born 1903. | 0:06:27 | 0:06:33 | |
But Broonzy himself gave a different date. | 0:06:33 | 0:06:36 | |
'I was born in the year 1893. | 0:06:37 | 0:06:39 | |
'My mother was a Christian and my dad was a Christian. | 0:06:41 | 0:06:45 | |
'I joined the church and was baptised. | 0:06:45 | 0:06:47 | |
'But Christian is one thing and money is another. | 0:06:50 | 0:06:53 | |
'We had to keep our instruments hid under the house | 0:06:56 | 0:06:58 | |
'because our mother wanted us to be preachers. | 0:06:58 | 0:07:01 | |
'I made a fiddle out of a cigar box, | 0:07:06 | 0:07:09 | |
'and we'd play for white people's picnics. | 0:07:09 | 0:07:12 | |
'One steps, two steps and square dances. | 0:07:12 | 0:07:14 | |
'Negroes on one side, and whites on the other. | 0:07:15 | 0:07:18 | |
'A white man told me, "You're too good for playin' to Negroes." | 0:07:22 | 0:07:26 | |
'So that's the way I started playing for whites. | 0:07:26 | 0:07:30 | |
'White folks want all the good things for themselves.' | 0:07:30 | 0:07:33 | |
Broonzy as a boy learned to navigate what was | 0:07:35 | 0:07:38 | |
a minefield of racism as a performer. | 0:07:38 | 0:07:40 | |
Anything that's good for white audiences could not be used | 0:07:41 | 0:07:45 | |
by black audiences as well, because it would symbolise | 0:07:45 | 0:07:48 | |
a level of social equality, all right, in entertainment. | 0:07:48 | 0:07:52 | |
My aunt Mary used to sing, | 0:07:54 | 0:07:59 | |
and she couldn't carry a note, | 0:07:59 | 0:08:01 | |
but she would be up singing and dancing. | 0:08:01 | 0:08:05 | |
It was just, we had a really happy family. | 0:08:05 | 0:08:10 | |
Broonzy's stories from that time | 0:08:13 | 0:08:15 | |
were often metaphors about his everyday life in Arkansas. | 0:08:15 | 0:08:19 | |
'I knew a man near my home, and they called him Mr White. | 0:08:20 | 0:08:24 | |
'All his fences were white, the trees, he painted them white. | 0:08:25 | 0:08:29 | |
'All the sheep, the goats, even down to the chickens, was white. | 0:08:29 | 0:08:33 | |
'Everything on his place was white. | 0:08:33 | 0:08:36 | |
'He didn't want nothin' black on his plantation.' | 0:08:36 | 0:08:38 | |
Any time there was a chicken, | 0:08:40 | 0:08:42 | |
a goat, a sheep, a mule or anything like that | 0:08:42 | 0:08:46 | |
that was brown or black, he said, | 0:08:46 | 0:08:48 | |
"I don't want no nigger chickens on my farm." | 0:08:48 | 0:08:52 | |
And he'd make somebody take them off | 0:08:52 | 0:08:54 | |
and give them to one of the black families. | 0:08:54 | 0:08:58 | |
There were many stories. | 0:08:58 | 0:09:00 | |
I mean, fantastic, fantastical stories actually. | 0:09:00 | 0:09:05 | |
Made-up stuff about birds and crows and bloody necks... | 0:09:05 | 0:09:10 | |
People getting up from the dead. | 0:09:14 | 0:09:17 | |
I didn't know whether it was true or not. | 0:09:17 | 0:09:19 | |
I mean, I was a child, I believed it. That was Uncle Bill. | 0:09:19 | 0:09:22 | |
# Lord, I did all I could | 0:09:22 | 0:09:26 | |
# Ooh, Lord, trying to please my soul and so... # | 0:09:26 | 0:09:30 | |
I think to understand Big Bill you have to understand that he | 0:09:30 | 0:09:33 | |
was a young man with ambition. | 0:09:33 | 0:09:35 | |
# I ain't gonna raise no more cotton | 0:09:35 | 0:09:39 | |
# I declare, I ain't gonna try to raise no corn... # | 0:09:39 | 0:09:44 | |
He wanted to make something of his life. | 0:09:44 | 0:09:47 | |
He wanted to make a statement. | 0:09:47 | 0:09:50 | |
He wanted to earn a living in a way | 0:09:50 | 0:09:53 | |
that wasn't dead-ended and gruelling. | 0:09:53 | 0:09:56 | |
To express his feelings, Bill often adapted other people's songs, | 0:10:01 | 0:10:05 | |
painting himself as a lone figure in a hostile world. | 0:10:05 | 0:10:08 | |
'Backwater Blues is about one of the truest things that ever happened. | 0:10:13 | 0:10:18 | |
'That was the way the flood water hit us. | 0:10:18 | 0:10:21 | |
'I was down there at the time and it was a terrible flood. | 0:10:23 | 0:10:27 | |
'The water was over the entire neighbourhood.' | 0:10:27 | 0:10:30 | |
# Lord, that was really enough trouble | 0:10:33 | 0:10:38 | |
# To make a poor man wonder where in the world to go | 0:10:38 | 0:10:43 | |
# They rowed a little boat | 0:10:46 | 0:10:51 | |
# Just about five miles across the farm... # | 0:10:51 | 0:10:55 | |
The floods of 1917 provoked the building of levee camps | 0:11:00 | 0:11:05 | |
all around the Mississippi river. | 0:11:05 | 0:11:07 | |
Broonzy worked there to supplement his modest wages as a fiddler. | 0:11:07 | 0:11:11 | |
'I worked in levee camps, and every place I'd hear guys singin'. | 0:11:19 | 0:11:24 | |
'And when you hear a fellow sing the blues, | 0:11:24 | 0:11:26 | |
'it's really a heart thing, from the heart. | 0:11:26 | 0:11:29 | |
'That's the only way to say those things. | 0:11:30 | 0:11:32 | |
'You know, the way we lived in those tents, the food | 0:11:37 | 0:11:40 | |
'we had to eat was really just scraps from what other people had refused. | 0:11:40 | 0:11:44 | |
'You could kill anyone down there so long as he's coloured. | 0:11:46 | 0:11:50 | |
'They said, "If you kill one nigger, we'll hire another." | 0:11:50 | 0:11:53 | |
'You know what I mean? | 0:11:53 | 0:11:55 | |
'In those days, a Negro didn't mean no more to a white man than a mule.' | 0:11:55 | 0:11:58 | |
The worst things they said within our hearing range, | 0:12:01 | 0:12:06 | |
because they didn't want the kids to know about stuff like that, | 0:12:06 | 0:12:09 | |
but they tarred and feathered a black man down on Ninth Street | 0:12:09 | 0:12:13 | |
in Little Rock and hung him up and set him on fire. | 0:12:13 | 0:12:17 | |
I don't know what he supposedly had done, | 0:12:17 | 0:12:21 | |
but it was bad, it was really bad. | 0:12:21 | 0:12:25 | |
I'm thinking that Uncle Bill probably thought that it can't | 0:12:25 | 0:12:29 | |
be any worse if I take off and try to do something better. | 0:12:29 | 0:12:33 | |
'If I hadn't been a damned good fighter and a big son of a gun, | 0:12:38 | 0:12:42 | |
'I would have been in the graveyard a long time ago.' | 0:12:42 | 0:12:46 | |
It seems as though my grandmother mentioned one time | 0:12:46 | 0:12:50 | |
that he had to leave Arkansas. | 0:12:50 | 0:12:52 | |
He had to leave. | 0:12:52 | 0:12:53 | |
Because we always wanted to know why he didn't stay here with us | 0:12:53 | 0:12:58 | |
and she said, "Well, he had to leave, he couldn't stay here with us." | 0:12:58 | 0:13:01 | |
You know, she never went into any details or anything like that. | 0:13:01 | 0:13:06 | |
And I don't really know exactly what he did, but during that time | 0:13:06 | 0:13:12 | |
a black man could just show up in the wrong place, you know, | 0:13:12 | 0:13:17 | |
or say the wrong thing to somebody, so I just don't know for sure. | 0:13:17 | 0:13:24 | |
# I believe, I believe | 0:13:27 | 0:13:29 | |
# Uncle Sam can use me... # | 0:13:29 | 0:13:32 | |
Broonzy told how he was drafted for the First World War. | 0:13:35 | 0:13:38 | |
Perhaps he wanted to disguise or lose his identity there. | 0:13:38 | 0:13:42 | |
# Now, I do believe, baby | 0:13:47 | 0:13:50 | |
# Lord, I be anything you want me to be... # | 0:13:50 | 0:13:53 | |
'In 1917, I was called into the army. | 0:13:53 | 0:13:57 | |
'Camp Robinson in Little Rock shipped us to Brest in France. | 0:13:57 | 0:14:01 | |
'I didn't know where I was goin' any more than a goat. | 0:14:01 | 0:14:04 | |
'I was in one of those labour battalions, building barracks, | 0:14:05 | 0:14:09 | |
'putting in a good road. | 0:14:09 | 0:14:11 | |
'We did all the dirty work. | 0:14:11 | 0:14:13 | |
'The officer would say, | 0:14:13 | 0:14:14 | |
"You have to do that because you don't know nothin' else." | 0:14:14 | 0:14:17 | |
'I couldn't read or write, | 0:14:22 | 0:14:25 | |
'and I had to keep worryin' the fellers to help me write home. | 0:14:25 | 0:14:28 | |
'So every day I tried to read or write somethin'. | 0:14:28 | 0:14:32 | |
'Looking at labels in the stockroom, at different cans and boxes, | 0:14:32 | 0:14:36 | |
'I learned to spell out C-A-N-D-Y and T-O-M-A-T-O, | 0:14:36 | 0:14:43 | |
'and on like that, till I could write home to my mother. | 0:14:43 | 0:14:46 | |
'I didn't know the war was over till I was on the way back home. | 0:14:48 | 0:14:51 | |
'I came out of the army in 1919. | 0:14:51 | 0:14:54 | |
'And I couldn't stand bein' bossed around by nobody. | 0:14:54 | 0:14:57 | |
'Bein' in the army had opened my eyes.' | 0:14:57 | 0:14:59 | |
Bill would recount the humiliations of his homecoming in the song, | 0:15:02 | 0:15:06 | |
When Will I Get To Be Called A Man. | 0:15:06 | 0:15:09 | |
# That night we had a ball | 0:15:09 | 0:15:12 | |
# Next day I met the old boss | 0:15:12 | 0:15:14 | |
# He said, "Boy, get you some overalls" | 0:15:14 | 0:15:18 | |
# I wonder when | 0:15:18 | 0:15:20 | |
# I wonder when | 0:15:20 | 0:15:23 | |
# I wonder when will I get to be called a man | 0:15:23 | 0:15:26 | |
# Do I have to wait till I get 93? # | 0:15:26 | 0:15:30 | |
'He said, "You can take off them clothes and get some overalls. | 0:15:30 | 0:15:34 | |
'"There ain't no nigger goin' to walk around here with Uncle Sam's uniform on."' | 0:15:34 | 0:15:38 | |
When Will I Be Called A Man is a song where Broonzy pulls | 0:15:39 | 0:15:43 | |
together a narrative that speaks in a universal way for his people, | 0:15:43 | 0:15:49 | |
about the need for change to happen | 0:15:49 | 0:15:54 | |
and to raise the question, when will it happen? | 0:15:54 | 0:15:57 | |
Just before going to war, Bill had found himself a wife. | 0:16:00 | 0:16:03 | |
But his marriage now hit the rocks. | 0:16:04 | 0:16:06 | |
'I got married. Her name was Gertrude. | 0:16:10 | 0:16:13 | |
'She was 17 and I was 21. | 0:16:13 | 0:16:15 | |
'We had chicken and cake and ice cream at our wedding. | 0:16:15 | 0:16:19 | |
'But there were differences between me and Gertrude now. | 0:16:28 | 0:16:32 | |
'She didn't sympathise with me no more. | 0:16:32 | 0:16:34 | |
'Before I went in the army, whatever my wife said, went. | 0:16:34 | 0:16:38 | |
'I shouldn't do this and I shouldn't do that. | 0:16:38 | 0:16:41 | |
'Now, I wouldn't stand that with her, or the white man. | 0:16:50 | 0:16:54 | |
'I couldn't stand eatin' out of the back trough all the time. | 0:16:54 | 0:16:58 | |
'I didn't want nobody tellin' me what to do. | 0:16:58 | 0:17:00 | |
'"What the heck," I said. | 0:17:02 | 0:17:03 | |
'"Down here a man ain't nothin', no how."' | 0:17:03 | 0:17:06 | |
Broonzy's choice of where to go was influenced by the Chicago Defender. | 0:17:11 | 0:17:15 | |
This black-owned newspaper denounced the racism of the South | 0:17:16 | 0:17:20 | |
with an honesty no other paper dared. | 0:17:20 | 0:17:23 | |
It also listed the many attractions of the northern city of Chicago. | 0:17:23 | 0:17:27 | |
The paper's greatest crusade was the encouragement of an exodus | 0:17:29 | 0:17:34 | |
of black farm workers from the South to the cities of the North. | 0:17:34 | 0:17:39 | |
The Defender really helped to influence | 0:17:39 | 0:17:42 | |
quite a number of people to make that move. | 0:17:42 | 0:17:46 | |
One of them was Big Bill. | 0:17:46 | 0:17:47 | |
He decided to take a chance to go to the city. | 0:17:48 | 0:17:52 | |
As a young man, he knew that it was a risk, and it was a risk, | 0:17:52 | 0:17:56 | |
because you're leaving a way of life | 0:17:56 | 0:17:59 | |
that people had lived for generations. | 0:17:59 | 0:18:01 | |
# I got my ticket | 0:18:01 | 0:18:04 | |
# I'm holdin' right here in my hand... # | 0:18:04 | 0:18:08 | |
'So I left home in January 1920. | 0:18:08 | 0:18:11 | |
'I caught the freight and rode on North, just singin' the blues. | 0:18:11 | 0:18:15 | |
# I'm holdin' right here in my hand | 0:18:15 | 0:18:18 | |
# Lord, I've got a real good woman | 0:18:22 | 0:18:26 | |
# But the poor gal just don't understand... # | 0:18:26 | 0:18:30 | |
'I arrived in Chicago on February 2nd, 1920. | 0:18:36 | 0:18:40 | |
'I got a job and started playin' music all around, | 0:18:40 | 0:18:43 | |
'and makin' money out of that.' | 0:18:43 | 0:18:44 | |
The South Side that Big Bill stepped into would have been amazing to him. | 0:18:46 | 0:18:52 | |
This was heaven for someone like Broonzy and other migrants. | 0:18:53 | 0:18:59 | |
It represented progress. It represented modernity. | 0:18:59 | 0:19:04 | |
And for a young man with ambition like Broonzy, it was... | 0:19:04 | 0:19:08 | |
It represented opportunity. | 0:19:08 | 0:19:10 | |
Culture, freedom, jobs. | 0:19:11 | 0:19:14 | |
You lived in your own neighbourhood, | 0:19:16 | 0:19:19 | |
you didn't run into, directly into, Jim Crow, | 0:19:19 | 0:19:22 | |
you know, like you did in the South. | 0:19:22 | 0:19:24 | |
So you had a sense of freedom. | 0:19:24 | 0:19:27 | |
You was walking down the street, you didn't come into contact with | 0:19:27 | 0:19:30 | |
somebody who's going to tell you to get off the sidewalk. | 0:19:30 | 0:19:32 | |
The Chicago Bill encountered wasn't as racially divided as the South, | 0:19:38 | 0:19:42 | |
but it was equally class ridden. | 0:19:42 | 0:19:45 | |
There were the expensive clubs with top-line jazz performers | 0:19:45 | 0:19:49 | |
like Duke Ellington. | 0:19:49 | 0:19:51 | |
These were often run by gangsters who were | 0:19:51 | 0:19:53 | |
making their fortune from prohibition. | 0:19:53 | 0:19:55 | |
Further down the South Side, poorer black immigrants were | 0:20:03 | 0:20:06 | |
dancing at house parties, which helped them pay their rent. | 0:20:06 | 0:20:10 | |
'We used to have a bunch of fun round there. | 0:20:11 | 0:20:13 | |
'Musicians didn't have to pay for nothin' | 0:20:13 | 0:20:15 | |
'and we'd get a chance to meet some nice lookin' women.' | 0:20:15 | 0:20:18 | |
And on a weekend, on the South Side, | 0:20:20 | 0:20:22 | |
there'd be any number of house rent parties. | 0:20:22 | 0:20:26 | |
And for someone who was new to the city like Big Bill, | 0:20:26 | 0:20:30 | |
it gave him a chance to develop a reputation, to learn the city, | 0:20:30 | 0:20:34 | |
to eat, to drink, and to join a fraternity of young musicians | 0:20:34 | 0:20:40 | |
who were similarly attempting to make their name. | 0:20:40 | 0:20:44 | |
'I bought me a guitar for a dollar and a half. | 0:20:47 | 0:20:50 | |
'I'd met some big shot and I was ready to make a record. | 0:20:50 | 0:20:53 | |
'I wrote a guitar solo called House Rent Stomp | 0:20:54 | 0:20:57 | |
'about those rent parties. | 0:20:57 | 0:21:00 | |
'No words, just pickin' the old guitar strings. | 0:21:00 | 0:21:03 | |
'Makin' the first two, E and B, cry, makin' the G and D talk, | 0:21:03 | 0:21:08 | |
'and the A and E moan. | 0:21:08 | 0:21:11 | |
Lee Conley Bradley soon went about inventing a new persona | 0:21:25 | 0:21:28 | |
for the challenges ahead. | 0:21:28 | 0:21:30 | |
He changed his name to Big Bill Broonzy. | 0:21:32 | 0:21:35 | |
But, at first, that didn't help him fill his pockets. | 0:21:35 | 0:21:38 | |
'I got nothin' for my first songs. No royalties. | 0:21:39 | 0:21:43 | |
'Until I started in this music business, I didn't know | 0:21:43 | 0:21:46 | |
'about people who'd rob their own brother for a lousy dollar. | 0:21:46 | 0:21:50 | |
I'd always been around people that if they made a little somethin', | 0:21:52 | 0:21:55 | |
'they'd give you a little somethin' too. | 0:21:55 | 0:21:58 | |
'So I went down to Maxwell Street, | 0:21:58 | 0:22:00 | |
'and that's how I know they sold good, | 0:22:00 | 0:22:03 | |
'because I bought 50 of them myself!' | 0:22:03 | 0:22:05 | |
He composed many songs and never made a dime out of them | 0:22:08 | 0:22:12 | |
because they were totally cheated, | 0:22:12 | 0:22:14 | |
and the music business did not care about the real blues. | 0:22:14 | 0:22:20 | |
They could have cared less, or anything. | 0:22:20 | 0:22:22 | |
They just wanted to make a buck. But he rose above that. | 0:22:22 | 0:22:26 | |
He was just a prince of a guy. | 0:22:26 | 0:22:28 | |
He said, I'm not going to spend my time fighting with people. | 0:22:28 | 0:22:32 | |
'I didn't know nothin' about trying to demand my money. | 0:22:34 | 0:22:38 | |
'What I'd do was get me some job in a foundry or other work. | 0:22:38 | 0:22:42 | |
'Steam all around me, hot iron fallin'. | 0:22:42 | 0:22:45 | |
'I worked every day and played music at night because I didn't | 0:22:46 | 0:22:50 | |
'make enough money just playin' music to take care of my family. | 0:22:50 | 0:22:54 | |
'It didn't bother me to work. | 0:22:54 | 0:22:56 | |
'That way I could always send my mother 2 a week.' | 0:22:56 | 0:22:59 | |
But finding a day job in Chicago was getting harder as the economy went | 0:23:03 | 0:23:07 | |
into free-fall and the prospects for the music business looked bleak. | 0:23:07 | 0:23:11 | |
When the Great Depression hit, it affected every | 0:23:13 | 0:23:15 | |
industry in America and the recording industry was no exception. | 0:23:15 | 0:23:19 | |
There was a period where virtually no blues recordings were | 0:23:20 | 0:23:25 | |
made in the early 1930s. | 0:23:25 | 0:23:28 | |
The Depression, of course, was a time of tremendous economic crisis. | 0:23:28 | 0:23:32 | |
But for Big Bill as a recording artist, | 0:23:33 | 0:23:35 | |
it was a time of tremendous opportunity. | 0:23:35 | 0:23:38 | |
Because of his creativity, he was able to craft | 0:23:39 | 0:23:43 | |
a broad range of songs that spoke to the issues of the time, | 0:23:43 | 0:23:47 | |
in a way that really allowed him | 0:23:47 | 0:23:49 | |
to penetrate the African American record-buying market. | 0:23:49 | 0:23:54 | |
# I'm feelin' sick and bad | 0:23:54 | 0:23:57 | |
# My head is hurting too | 0:23:57 | 0:23:59 | |
# Go get the doctor so he can tell me just what to do | 0:23:59 | 0:24:04 | |
# Because I keep on aching... # | 0:24:04 | 0:24:07 | |
Who would want to buy a song about starvation? | 0:24:07 | 0:24:10 | |
Who would want to buy a song about pneumonia? | 0:24:10 | 0:24:15 | |
Right? Unless they were faced with those problems. | 0:24:15 | 0:24:19 | |
So in that way you might say he was a blues preacher. | 0:24:19 | 0:24:22 | |
# I've got holes in my pockets | 0:24:22 | 0:24:26 | |
# There be patches on my pants | 0:24:26 | 0:24:30 | |
# Yeah, I got holes in my pockets, mama | 0:24:32 | 0:24:36 | |
# With big patches on my pants... # | 0:24:36 | 0:24:39 | |
They're powerful. | 0:24:39 | 0:24:41 | |
They talk about the scourge of alcoholism, the bottle, | 0:24:41 | 0:24:44 | |
in a song like Good Liquor Going To Carry Me Down. | 0:24:44 | 0:24:47 | |
No matter what the incentives are, that are presented | 0:24:47 | 0:24:51 | |
to the protagonist to put down that bottle, | 0:24:51 | 0:24:55 | |
he's unwilling to do it. | 0:24:55 | 0:24:56 | |
So this is a way of speaking out about the realities of life. | 0:24:59 | 0:25:03 | |
# When I lay down in the evening | 0:25:03 | 0:25:06 | |
# I hold my woman tight | 0:25:06 | 0:25:08 | |
# When I wake up in the morning keep that bottle out of sight | 0:25:08 | 0:25:12 | |
# I just keep on drinking | 0:25:12 | 0:25:14 | |
# Yeah, man, keep on drinking | 0:25:14 | 0:25:17 | |
# I just keep on drinking | 0:25:21 | 0:25:23 | |
# Till good liquor carry me down | 0:25:23 | 0:25:28 | |
# I went to the doctor with my head in my hands | 0:25:29 | 0:25:33 | |
# The doctor said, "Big Bill, | 0:25:33 | 0:25:35 | |
# "I'm going to have to give you monkey gland" | 0:25:35 | 0:25:38 | |
# You just keep on drinking | 0:25:38 | 0:25:40 | |
# Yeah, man, you keep on drinking | 0:25:40 | 0:25:42 | |
# You just keep on drinking | 0:25:45 | 0:25:48 | |
# Till that liquor carry you down. # | 0:25:48 | 0:25:53 | |
Broonzy was no lightweight. | 0:25:56 | 0:25:59 | |
There was great substance to his music | 0:25:59 | 0:26:02 | |
and he could make it playful. | 0:26:02 | 0:26:05 | |
It didn't have to be a man's soul, each and every time you heard it. | 0:26:05 | 0:26:09 | |
It could be something light that you could dance to, could take | 0:26:09 | 0:26:12 | |
a breath to, you could have a drink to, you could laugh with. | 0:26:12 | 0:26:16 | |
Or you could cry with. | 0:26:16 | 0:26:18 | |
Bill was not a salesman of the blues. | 0:26:18 | 0:26:22 | |
But I don't think he had to be. | 0:26:22 | 0:26:23 | |
Broonzy didn't need to sell the blues | 0:26:28 | 0:26:30 | |
because, unlike many of his colleagues, | 0:26:30 | 0:26:33 | |
he boasted a vast repertoire - ragtime, spirituals, boogie. | 0:26:33 | 0:26:37 | |
He could adapt to fit every taste and occasion. | 0:26:37 | 0:26:40 | |
They were making these songs from personal experiences, to the people. | 0:26:43 | 0:26:46 | |
And the black people were sitting down and drinkin' | 0:26:46 | 0:26:49 | |
and they related to it. | 0:26:49 | 0:26:52 | |
"Man, that's it! You're right on time!" You know. Stuff like that. | 0:26:52 | 0:26:58 | |
Bill Broonzy was a frontrunner. Sort of like a leader. | 0:26:58 | 0:27:03 | |
He was inspirational and he would give advice. | 0:27:03 | 0:27:08 | |
He was a tall figure and he was the king of the South Side of Chicago. | 0:27:08 | 0:27:14 | |
And he was highly respected by all the musicians, and the people. | 0:27:14 | 0:27:18 | |
Broonzy had become a star attraction who could fill the South Side | 0:27:23 | 0:27:27 | |
clubs with a hard-edged music that embodied | 0:27:27 | 0:27:30 | |
the migrant experience of the 1930s. | 0:27:30 | 0:27:34 | |
But Bill was due for a radical make over | 0:27:34 | 0:27:37 | |
when he was suddenly invited to New York, to appear at the city's | 0:27:37 | 0:27:42 | |
temple of high culture, Carnegie Hall. | 0:27:42 | 0:27:46 | |
From Spirituals to Swing introduced the cream of black performers | 0:27:48 | 0:27:52 | |
to a white concert audience for the first time. | 0:27:52 | 0:27:55 | |
Broonzy knew, from his early years playing segregated picnics | 0:27:55 | 0:28:00 | |
in the South, how to impress a gathering of whites. | 0:28:00 | 0:28:05 | |
He chose to perform a song he'd written especially for this occasion. | 0:28:05 | 0:28:09 | |
Broonzy performed the song Just A Dream. | 0:28:15 | 0:28:18 | |
Now he politicises the song by adding a line that refers to | 0:28:18 | 0:28:23 | |
dreaming that he was at the White House. | 0:28:23 | 0:28:26 | |
He dreams that he was at the White House, that he | 0:28:26 | 0:28:29 | |
was welcomed by the President, that he was welcomed | 0:28:29 | 0:28:32 | |
by the highest political authority of the land. | 0:28:32 | 0:28:36 | |
So Broonzy injects this line in the version of Just A Dream | 0:28:36 | 0:28:40 | |
that he sings to white audiences. | 0:28:40 | 0:28:42 | |
The desire for political equality. | 0:28:42 | 0:28:46 | |
But he ends the song with a refrain that it was just a dream. | 0:28:46 | 0:28:52 | |
Couldn't happen. | 0:28:52 | 0:28:54 | |
# I dreamed I was in the White House | 0:28:58 | 0:29:00 | |
# Sittin' in the President's chair | 0:29:00 | 0:29:03 | |
# I dreamed he shook my hand | 0:29:03 | 0:29:07 | |
# And he said, "Bill, I'm so glad you're here" | 0:29:07 | 0:29:10 | |
# But that was just a dream | 0:29:10 | 0:29:12 | |
# Lord, what a dream I had on my mind | 0:29:14 | 0:29:19 | |
# And when I woke up, baby | 0:29:23 | 0:29:27 | |
# Not a chair there could I find... # | 0:29:27 | 0:29:32 | |
This was the turning point in Big Bill Broonzy's career. | 0:29:35 | 0:29:40 | |
He could see that, armed with only his guitar, his voice, | 0:29:40 | 0:29:46 | |
his songwriting and his charisma, he could capture an audience | 0:29:46 | 0:29:51 | |
and he could capture an audience in the most prestigious | 0:29:51 | 0:29:54 | |
concert venue in America. | 0:29:54 | 0:29:56 | |
So when he would play for white audiences | 0:29:58 | 0:30:00 | |
he would play folk songs, you know. | 0:30:00 | 0:30:02 | |
But when he played for black people, he'd sing blues, | 0:30:02 | 0:30:05 | |
the blues records that he'd made for last 14 years. | 0:30:05 | 0:30:08 | |
He didn't play folk songs for black people. | 0:30:09 | 0:30:12 | |
That wouldn't have worked, and he knew that. | 0:30:12 | 0:30:15 | |
# See that woman Her hands up over her head? | 0:30:15 | 0:30:17 | |
# Did you hear me, what I said? | 0:30:17 | 0:30:20 | |
# She's a truckin' little woman, don't you know | 0:30:20 | 0:30:23 | |
# She's a truckin' little woman, don't you know... # | 0:30:23 | 0:30:26 | |
Bill was starting to play two styles of blues for two different worlds. | 0:30:26 | 0:30:30 | |
And he enjoyed the success. | 0:30:30 | 0:30:33 | |
Big Bill was a heavy drinker and he was a womanizer, yeah. | 0:30:33 | 0:30:36 | |
They said Big Bill's whisky bill used to be at Ruby Gatewood's lounge, | 0:30:37 | 0:30:41 | |
used to be more than he made. | 0:30:41 | 0:30:43 | |
Said he'd have a 200 whisky bill over the weekend. | 0:30:44 | 0:30:47 | |
Cos he'd party and buy his friends drinks. | 0:30:47 | 0:30:50 | |
It was while partying down South that Bill met his second wife, | 0:30:52 | 0:30:55 | |
known as Texas Rose. | 0:30:55 | 0:30:57 | |
She often stayed home in Chicago while Bill, | 0:30:58 | 0:31:00 | |
enjoying the trappings of his success, | 0:31:00 | 0:31:03 | |
would proudly drive his Cadillac down to North Little Rock. | 0:31:03 | 0:31:06 | |
# Goin' back | 0:31:08 | 0:31:09 | |
# I'm goin' back to Arkansas... # | 0:31:09 | 0:31:11 | |
He had bought his mother a house there, | 0:31:11 | 0:31:13 | |
to get her off the old plantation. | 0:31:13 | 0:31:16 | |
But he didn't travel alone. | 0:31:16 | 0:31:18 | |
# I know I will be happy | 0:31:18 | 0:31:20 | |
# Me and my wife and mother-in-law | 0:31:20 | 0:31:23 | |
# That's why I'm goin' back | 0:31:23 | 0:31:24 | |
# I'm goin' back to Arkansas... # | 0:31:24 | 0:31:27 | |
When he came home, he always had some woman with him. | 0:31:27 | 0:31:30 | |
I mean, he would hang out with them | 0:31:30 | 0:31:32 | |
but he'd always get the ladies' attention. | 0:31:32 | 0:31:34 | |
I don't know if it was his guitar or his good looks. | 0:31:34 | 0:31:37 | |
But... | 0:31:37 | 0:31:38 | |
Yeah, he was a ladies' man. | 0:31:39 | 0:31:41 | |
From what I understand, I can remember my mother saying, | 0:31:41 | 0:31:44 | |
"Uncle Bill brings a different lady home." | 0:31:44 | 0:31:48 | |
And I couldn't tell you what none of them looked like, | 0:31:48 | 0:31:50 | |
can't remember that. | 0:31:50 | 0:31:51 | |
Cos our focus was on him. | 0:31:51 | 0:31:53 | |
He always looked good. | 0:31:53 | 0:31:55 | |
And that could have just been me, you know. | 0:31:55 | 0:31:58 | |
But to me, he did. | 0:31:58 | 0:31:59 | |
Dapper! | 0:32:00 | 0:32:01 | |
Everybody would come over. | 0:32:05 | 0:32:07 | |
And my grandmother would cook and my auntie would cook | 0:32:07 | 0:32:10 | |
and we'd just have a good time. | 0:32:10 | 0:32:12 | |
He'd be playing and we'd be dancing and just having a good time. | 0:32:12 | 0:32:16 | |
It was just, I guess, like one big party. | 0:32:16 | 0:32:19 | |
All of the older ones, my mother, | 0:32:37 | 0:32:40 | |
they would all, you know, get dressed up | 0:32:40 | 0:32:43 | |
and make up and stuff. | 0:32:43 | 0:32:46 | |
He'd take a lot of pictures. The family would come over. | 0:32:46 | 0:32:49 | |
Everybody would try to see Uncle Bill. | 0:32:49 | 0:32:52 | |
And they'd want to be in a picture with him. | 0:32:52 | 0:32:54 | |
But things were so hard back then. | 0:32:59 | 0:33:02 | |
Where my grandma Mitty Bradley lived, | 0:33:03 | 0:33:06 | |
up behind her house, | 0:33:06 | 0:33:08 | |
they burnt this big huge cross behind her house. | 0:33:08 | 0:33:12 | |
And see, just over the hill from her house | 0:33:12 | 0:33:15 | |
were the white neighbourhoods, the... | 0:33:15 | 0:33:18 | |
what they call the working class, I guess. | 0:33:18 | 0:33:20 | |
But they would burn those crosses on that hill and you could... | 0:33:20 | 0:33:24 | |
the whole neighbourhood could see 'em because of | 0:33:24 | 0:33:26 | |
the way that, you know, it was built. | 0:33:26 | 0:33:29 | |
# This little song that I'm singin' about | 0:33:29 | 0:33:32 | |
# People, you know it's true... # | 0:33:32 | 0:33:34 | |
Stung by the racial provocation he'd experienced all his life, | 0:33:34 | 0:33:38 | |
Broonzy wrote a song that would have a major impact | 0:33:38 | 0:33:41 | |
on his career. | 0:33:41 | 0:33:43 | |
Black, Brown and White Blues is as much of an anthem | 0:33:43 | 0:33:47 | |
as Bill ever wrote. | 0:33:47 | 0:33:50 | |
What he does in a set of verses | 0:33:50 | 0:33:52 | |
is present a vignette of racial prejudice. | 0:33:52 | 0:33:57 | |
And that gives his voice plenty of time to, kind of, tell the story. | 0:34:02 | 0:34:05 | |
# Well, listen to me, brothers | 0:34:05 | 0:34:08 | |
# You know it's true | 0:34:11 | 0:34:12 | |
# If you're black and gotta work for a living | 0:34:14 | 0:34:18 | |
# This is what they will say to you | 0:34:18 | 0:34:20 | |
# If you're white | 0:34:20 | 0:34:22 | |
# You're right | 0:34:22 | 0:34:24 | |
# If you're brown | 0:34:24 | 0:34:26 | |
# Stick around | 0:34:26 | 0:34:28 | |
# But if you're black | 0:34:28 | 0:34:30 | |
# Oh, brother | 0:34:30 | 0:34:31 | |
# You got to git back | 0:34:31 | 0:34:33 | |
# Git back, git back. # | 0:34:33 | 0:34:35 | |
'I tried RCA Victor, Columbia, Decca, | 0:34:39 | 0:34:43 | |
'but none of them would record that song. | 0:34:43 | 0:34:46 | |
"We like the music," they said, "but not the words." | 0:34:46 | 0:34:49 | |
# They called everybody's number | 0:34:49 | 0:34:51 | |
# But they never did call mine... # | 0:34:51 | 0:34:54 | |
'I said, "What's wrong with it? | 0:34:54 | 0:34:56 | |
"Y'all know it's true." | 0:34:56 | 0:34:57 | |
'Me, I tried everything not to be made to "git back." | 0:34:58 | 0:35:02 | |
'I changed everything. | 0:35:02 | 0:35:03 | |
'I even learned to play my guitar differently | 0:35:03 | 0:35:05 | |
'and sing different songs.' | 0:35:05 | 0:35:07 | |
'So I found out that fine clothes, a big cigar, a change of talking | 0:35:09 | 0:35:13 | |
'don't hide what's on your face.' | 0:35:13 | 0:35:15 | |
'If you're black in the USA, you got to "git back." | 0:35:15 | 0:35:20 | |
# They was payin' me 50 cent They said | 0:35:20 | 0:35:22 | |
# If you was white | 0:35:22 | 0:35:23 | |
# You'd be all right | 0:35:23 | 0:35:25 | |
# If you was brown... # | 0:35:25 | 0:35:26 | |
While Bill was struggling | 0:35:26 | 0:35:27 | |
with the commercial pressures of the record business, | 0:35:27 | 0:35:30 | |
Black, Brown and White Blues was adopted as something of an anthem | 0:35:30 | 0:35:34 | |
by his new white fans in local radio. | 0:35:34 | 0:35:37 | |
Well, there's a lot of people in the world have never had to "git back." | 0:35:37 | 0:35:42 | |
But I wrote it because I had to "git back." | 0:35:42 | 0:35:44 | |
These radio shows were ushering in the folk revival movement | 0:35:46 | 0:35:50 | |
where Bill would be cast as the down-home country blues man. | 0:35:50 | 0:35:54 | |
# Git back, git back, git back. # | 0:35:54 | 0:35:57 | |
He joined folk musicians like Pete Seeger | 0:35:57 | 0:35:59 | |
who were discovering what they called the soul of the nation. | 0:35:59 | 0:36:03 | |
I met Bill in Chicago. | 0:36:03 | 0:36:07 | |
I remember singing with him... | 0:36:09 | 0:36:12 | |
..at the University of Chicago. | 0:36:13 | 0:36:16 | |
And I think he was amused | 0:36:16 | 0:36:19 | |
to see a white man try and learn to sing the blues. | 0:36:19 | 0:36:23 | |
Although we only saw each other occasionally, | 0:36:27 | 0:36:31 | |
I tried to learn from him as much as I could. | 0:36:31 | 0:36:34 | |
Pete Seeger later accompanied Sonny Terry and Brownie McGhee | 0:36:35 | 0:36:39 | |
in one of Broonzy's biggest hits | 0:36:39 | 0:36:41 | |
about the freedom of the road. | 0:36:41 | 0:36:43 | |
# I got the key | 0:36:44 | 0:36:47 | |
-# To the highway -All right! | 0:36:47 | 0:36:50 | |
# Billed out, I'm bound to go | 0:36:50 | 0:36:54 | |
# I'm gonna leave here running because | 0:36:55 | 0:36:59 | |
# Walking is most too slow | 0:36:59 | 0:37:02 | |
# Now give me one, one more kiss, darling | 0:37:06 | 0:37:10 | |
# Just before I go | 0:37:12 | 0:37:15 | |
# If I leave this time | 0:37:16 | 0:37:19 | |
# I may not come back no more... # | 0:37:19 | 0:37:23 | |
Bill wanted people to understand that the blues was not simply music. | 0:37:26 | 0:37:30 | |
That it came from a life experience. | 0:37:30 | 0:37:33 | |
That it was shaped by the culture of the South. | 0:37:33 | 0:37:37 | |
That it was shaped by | 0:37:37 | 0:37:38 | |
his relationships with his family and friends | 0:37:38 | 0:37:40 | |
and that it was shaped through a fraternity of musicians. | 0:37:40 | 0:37:44 | |
And he wanted people to understand that the blue note, | 0:37:45 | 0:37:49 | |
the sound of the blues, | 0:37:49 | 0:37:50 | |
that sound that can make the hairs stand up on the back of your neck, | 0:37:50 | 0:37:55 | |
that it came from a space of black tragedy and resilience. | 0:37:55 | 0:38:00 | |
Broonzy spoke frankly about that in the 1947 recording | 0:38:04 | 0:38:08 | |
Blues In The Mississippi Night. | 0:38:08 | 0:38:10 | |
This testimony was the brainchild of Alan Lomax. | 0:38:12 | 0:38:15 | |
Like Pete Seeger, he was a member of the crusading People's Songs. | 0:38:15 | 0:38:20 | |
Lomax wanted to paint Broonzy and his companions | 0:38:20 | 0:38:23 | |
as Delta bluesmen from, in his words, | 0:38:23 | 0:38:26 | |
"the dangerous jungles of the South". | 0:38:26 | 0:38:29 | |
Bill Broonzy started this conversation. | 0:38:30 | 0:38:33 | |
You know, he said, | 0:38:33 | 0:38:34 | |
"Well, we're going to get to the heart of the matter, right now. | 0:38:34 | 0:38:38 | |
"We're going to define what really the blues is." | 0:38:38 | 0:38:41 | |
'I always believed that it was really a heart thing, | 0:38:41 | 0:38:44 | |
'from his heart, you know? | 0:38:44 | 0:38:45 | |
'And expressin' his feelin' about how he felt... | 0:38:45 | 0:38:49 | |
'to the people. | 0:38:49 | 0:38:50 | |
'Blues is kind of a revenge, you know? | 0:38:50 | 0:38:52 | |
'You want to say something, signifying-like. | 0:38:52 | 0:38:55 | |
'That's the blues.' | 0:38:55 | 0:38:56 | |
They described a set of circumstances that in many cases | 0:38:56 | 0:38:59 | |
are chilling to listen to. | 0:38:59 | 0:39:01 | |
Involving lynchings, murder, | 0:39:01 | 0:39:04 | |
racial intimidation. | 0:39:04 | 0:39:06 | |
'They say, "If you kill a nigger, I'll hire another nigger. | 0:39:06 | 0:39:09 | |
-"If you kill a mule, I'll buy another." -'Yeah, yeah.' -'One of those things.' | 0:39:09 | 0:39:13 | |
They were talking very, very frankly. It was amazing. | 0:39:13 | 0:39:17 | |
Because something would remind them | 0:39:17 | 0:39:19 | |
and they would just start singing a fragment of a song like | 0:39:19 | 0:39:21 | |
# I'm going to Memphis when I make parole... # | 0:39:21 | 0:39:26 | |
# I'm goin' to Memphis when I make parole | 0:39:26 | 0:39:32 | |
# Stand on the levee | 0:39:32 | 0:39:33 | |
# And watch the big boat blow. # | 0:39:33 | 0:39:36 | |
-'You know what I mean?' -'Yeah, they used to sing...' | 0:39:36 | 0:39:39 | |
Among the people who were captivated by | 0:39:39 | 0:39:42 | |
the Blues In The Mississippi Night record | 0:39:42 | 0:39:44 | |
was Johnny Cash. | 0:39:44 | 0:39:46 | |
He referred to it as one of his favourite records | 0:39:46 | 0:39:49 | |
and he recorded a song called Going To Memphis. | 0:39:49 | 0:39:52 | |
# ...past Tennessee | 0:39:52 | 0:39:54 | |
# With Mississippi all over my face | 0:39:54 | 0:39:56 | |
# I'm goin' to Memphis, yeah | 0:39:56 | 0:39:58 | |
# Well, the freezin' ground at night | 0:39:58 | 0:40:01 | |
# Is my own foldin' bed | 0:40:01 | 0:40:04 | |
# Pork salad is my bread and meat | 0:40:04 | 0:40:07 | |
# And it will be till I'm dead | 0:40:07 | 0:40:10 | |
# I'm goin' to Memphis | 0:40:10 | 0:40:12 | |
# Like a bitter weed, I'm a bad seed | 0:40:12 | 0:40:15 | |
# But when that levee's through | 0:40:15 | 0:40:16 | |
# And I am too | 0:40:16 | 0:40:17 | |
# Let the honky-tonk roll on | 0:40:17 | 0:40:20 | |
# Come mornin' I'll be gone | 0:40:20 | 0:40:22 | |
# I'm goin' to Memphis | 0:40:22 | 0:40:24 | |
# Yeah, I'm goin' to Memphis... # | 0:40:24 | 0:40:26 | |
Major TV networks would carry Bill's Broonzy's life story | 0:40:26 | 0:40:30 | |
to audiences who'd never even heard the bluesman's name. | 0:40:30 | 0:40:33 | |
Bill did have an impact on popular music | 0:40:35 | 0:40:38 | |
in a variety of areas. | 0:40:38 | 0:40:39 | |
Elvis Presley noted Bill as an influence, | 0:40:39 | 0:40:43 | |
Elvis said, "I loved the low-down Mississippi blues singers, | 0:40:43 | 0:40:48 | |
"especially Big Bill Broonzy and Arthur 'Big Boy' Crudup." | 0:40:48 | 0:40:51 | |
But he also noted that he'd get scolded at home | 0:40:51 | 0:40:54 | |
for listening to them. | 0:40:54 | 0:40:56 | |
By the 1950s, Broonzy's music had begun to influence the mainstream. | 0:41:00 | 0:41:05 | |
At the same time, however, | 0:41:05 | 0:41:07 | |
it was being increasingly ignored by the black community. | 0:41:07 | 0:41:10 | |
An influx of younger musicians had arrived | 0:41:11 | 0:41:14 | |
to enjoy the post-war economic boom. | 0:41:14 | 0:41:16 | |
# Ever since you've come to Chicago | 0:41:16 | 0:41:18 | |
# I declare you've changed your name | 0:41:18 | 0:41:21 | |
# Little girl, you changed your way of walking | 0:41:22 | 0:41:25 | |
# Ain't nothin' about you the same... # | 0:41:25 | 0:41:27 | |
What he began to detect | 0:41:29 | 0:41:31 | |
was that the style he was playing in was not what was happening. | 0:41:31 | 0:41:36 | |
At that time, there were several styles emerging | 0:41:36 | 0:41:38 | |
that African American audiences were excited about. | 0:41:38 | 0:41:41 | |
There were jump blues, there were crooners, | 0:41:41 | 0:41:44 | |
and Bill didn't really fit neatly into those categories. | 0:41:44 | 0:41:49 | |
He was older. | 0:41:50 | 0:41:51 | |
He did not speak to the young generation. | 0:41:51 | 0:41:53 | |
He spoke to the first generation of migrants. | 0:41:53 | 0:41:56 | |
And that generation, in the eyes of the industry, | 0:41:56 | 0:41:59 | |
was shrinking. | 0:41:59 | 0:42:01 | |
But his day as a recording star, as a blues star, | 0:42:02 | 0:42:05 | |
for the black market, was in decline. | 0:42:05 | 0:42:08 | |
And so for him, he was clear-sighted | 0:42:11 | 0:42:14 | |
in identifying that the style he was playing in | 0:42:14 | 0:42:18 | |
was losing momentum. | 0:42:18 | 0:42:20 | |
And he set about identifying a course for himself | 0:42:20 | 0:42:24 | |
which would allow him to continue to perform | 0:42:24 | 0:42:27 | |
for white audiences in the United States and in Europe. | 0:42:27 | 0:42:32 | |
# Yeah, my luck'll be changed | 0:42:32 | 0:42:36 | |
# Ooh, Lord, and I'll be on my way. # | 0:42:36 | 0:42:39 | |
Bill had made half a dozen trips to Europe, during the 1950s. | 0:42:41 | 0:42:45 | |
Knowing how the image of the country bluesman | 0:42:45 | 0:42:48 | |
had appealed to white Americans, | 0:42:48 | 0:42:50 | |
he decided to try his act in Europe. | 0:42:50 | 0:42:52 | |
Broonzy was seeking new and fertile pastures. | 0:42:54 | 0:42:57 | |
In his private life, too. | 0:42:57 | 0:42:59 | |
He divorced Texas Rose and married a third wife, | 0:43:03 | 0:43:07 | |
Chicago Rose. | 0:43:07 | 0:43:08 | |
But, to Bill, out of sight meant out of mind. | 0:43:09 | 0:43:13 | |
It was, for him, impossible in Chicago | 0:43:14 | 0:43:17 | |
to have a white woman as a companion or his wife. | 0:43:17 | 0:43:22 | |
This is why he wanted to marry every girl he met. | 0:43:23 | 0:43:28 | |
And, of course, | 0:43:30 | 0:43:33 | |
he had made a big lie, as usual. | 0:43:33 | 0:43:37 | |
He said always, | 0:43:37 | 0:43:38 | |
"You know, I'm a divorced man | 0:43:38 | 0:43:41 | |
"and I'll show you my divorce paper." | 0:43:41 | 0:43:44 | |
The document was genuine enough | 0:43:45 | 0:43:48 | |
but the Rose it referred to was the divorced Texas Rose | 0:43:48 | 0:43:52 | |
rather than his current wife, Chicago Rose. | 0:43:52 | 0:43:55 | |
The deceit worked rather well for him. | 0:43:56 | 0:43:58 | |
He was a ladies' man. | 0:44:00 | 0:44:01 | |
He was a handsome, charismatic gentleman. | 0:44:01 | 0:44:05 | |
And the opportunity to spend time with women | 0:44:05 | 0:44:09 | |
was something that he certainly enjoyed. | 0:44:09 | 0:44:11 | |
There were two noteworthy relationships he had | 0:44:11 | 0:44:14 | |
with European women, when he was overseas. | 0:44:14 | 0:44:17 | |
One of them with a French social worker, Jacqueline. | 0:44:17 | 0:44:22 | |
# Lord, I've got a beautiful baby | 0:44:22 | 0:44:28 | |
# Jacqueline is her name... # | 0:44:30 | 0:44:34 | |
When the affair with Jacqueline broke up, | 0:44:37 | 0:44:40 | |
Bill wasn't slow to find himself a new love, | 0:44:40 | 0:44:42 | |
in Amsterdam. | 0:44:42 | 0:44:44 | |
Bill's relationship with Pim van Isveldt | 0:44:45 | 0:44:48 | |
was truly a whirlwind romance. | 0:44:48 | 0:44:51 | |
As their relationship developed, | 0:44:51 | 0:44:53 | |
as he had suggested with Jacqueline, | 0:44:53 | 0:44:56 | |
he spoke very explicitly about getting married. | 0:44:56 | 0:45:00 | |
He sent cards to her talking about "To my wife" | 0:45:00 | 0:45:04 | |
and suggesting names, once he knew she was pregnant. | 0:45:04 | 0:45:08 | |
So he was clearly invested in this relationship, | 0:45:08 | 0:45:12 | |
and a relationship from which their son, Michael Van Isveldt, | 0:45:12 | 0:45:17 | |
was born, in December of 1956. | 0:45:17 | 0:45:20 | |
Loads of letters and postcards | 0:45:26 | 0:45:28 | |
that he used to send my mother from all over Europe, mainly. | 0:45:28 | 0:45:33 | |
My mother always cherished them. | 0:45:33 | 0:45:35 | |
But they're very romantic | 0:45:35 | 0:45:37 | |
and kind and sweet. | 0:45:37 | 0:45:40 | |
Also because the fact that he could hardly write. | 0:45:40 | 0:45:44 | |
So he wrote everything in a phonetic way. | 0:45:45 | 0:45:48 | |
I was one and a half when he died. | 0:45:50 | 0:45:52 | |
Yeah. So what's there to tell? | 0:45:52 | 0:45:54 | |
I have no recollection of him. | 0:45:54 | 0:45:55 | |
It wasn't until I was eight or so, | 0:45:57 | 0:45:59 | |
I started to realise that my father was, or had been, | 0:45:59 | 0:46:03 | |
a world-famous American blues player. | 0:46:03 | 0:46:06 | |
And then slowly, slowly I got aware of that fact and... | 0:46:07 | 0:46:11 | |
I slowly got proud of it, even. | 0:46:12 | 0:46:15 | |
And I changed...that was the time I changed my name | 0:46:15 | 0:46:20 | |
from Michiel, which is my original name, | 0:46:20 | 0:46:23 | |
into Michael, because that was English. | 0:46:23 | 0:46:27 | |
And that gave me the feeling I was closer to him then. | 0:46:27 | 0:46:32 | |
I couldn't hide from the identity of my father | 0:46:34 | 0:46:36 | |
just because of the fact I was black. | 0:46:36 | 0:46:38 | |
Who did know the real Bill Broonzy? | 0:46:40 | 0:46:42 | |
Not his son, not his lovers, nor his listeners. | 0:46:42 | 0:46:46 | |
Broadcasters across Europe were portraying him in his chosen role | 0:46:46 | 0:46:50 | |
as the last of the Mississippi bluesmen. | 0:46:50 | 0:46:53 | |
# Got some trouble in mind | 0:46:57 | 0:47:01 | |
# Babe, I'm so blue | 0:47:02 | 0:47:04 | |
# Yes | 0:47:05 | 0:47:08 | |
# But I won't | 0:47:08 | 0:47:10 | |
# Won't be blue always | 0:47:11 | 0:47:13 | |
# You know the sun, sun gonna shine | 0:47:15 | 0:47:20 | |
# In my back door someday. # | 0:47:22 | 0:47:26 | |
We swallowed this, kind of, lone folk singer persona, you know, | 0:47:30 | 0:47:33 | |
and it wasn't till later, | 0:47:33 | 0:47:34 | |
when on the radio you'd start hearing or getting hold of records | 0:47:34 | 0:47:37 | |
with his band in Chicago where he's playing | 0:47:37 | 0:47:39 | |
really good plectrum lead guitar and everything, you know. | 0:47:39 | 0:47:43 | |
And we just saw him as the, sort of, troubadour solo folk singer. | 0:47:43 | 0:47:48 | |
I guess the first Broonzy song I heard, The Glory of Love, | 0:47:48 | 0:47:52 | |
was one of the first pieces I tried to learn. | 0:47:52 | 0:47:54 | |
And I've been playing it ever since. | 0:47:54 | 0:47:56 | |
# You've got to give a little | 0:48:03 | 0:48:05 | |
# Take a little | 0:48:05 | 0:48:06 | |
# Let your poor heart break a little | 0:48:06 | 0:48:10 | |
# That's the story of | 0:48:10 | 0:48:11 | |
# That's the glory of love | 0:48:11 | 0:48:14 | |
# Sigh a little and cry a little | 0:48:15 | 0:48:17 | |
# Let the clouds roll by a little | 0:48:18 | 0:48:22 | |
# Oh, baby | 0:48:22 | 0:48:23 | |
# That's the glory of love | 0:48:23 | 0:48:26 | |
# Long as there's the two of us | 0:48:29 | 0:48:31 | |
# We have the world and its charm | 0:48:32 | 0:48:34 | |
# When the world is through with us | 0:48:37 | 0:48:41 | |
# We'll have each other's arms | 0:48:41 | 0:48:43 | |
# Sigh a little and cry a little | 0:48:44 | 0:48:46 | |
# Let the clouds roll by a little | 0:48:47 | 0:48:51 | |
# Oh, that's the story of | 0:48:51 | 0:48:52 | |
# That's the glory of love. # | 0:48:52 | 0:48:54 | |
When I first heard Big Bill play, I was 16. | 0:49:00 | 0:49:03 | |
I was just potty about him. | 0:49:03 | 0:49:05 | |
But you were in a little bubble | 0:49:05 | 0:49:06 | |
and occasionally you would meet someone else | 0:49:06 | 0:49:09 | |
and you'd think you had something really special | 0:49:09 | 0:49:12 | |
and they'd suddenly mention the name Big Bill Broonzy | 0:49:12 | 0:49:15 | |
and suddenly there you were, even more people in the bubble! | 0:49:15 | 0:49:18 | |
There was nothing like that in the early '50s, nothing at all. | 0:49:18 | 0:49:22 | |
It was just, | 0:49:22 | 0:49:23 | |
"This is music, listen to this!" | 0:49:23 | 0:49:26 | |
It was very exciting, | 0:49:26 | 0:49:29 | |
finding this music | 0:49:29 | 0:49:31 | |
that inevitably you thought of it as yours. | 0:49:31 | 0:49:35 | |
And it was a question of getting every single recording you could | 0:49:35 | 0:49:39 | |
and just listening and listening and slowing it down. | 0:49:39 | 0:49:43 | |
It was a bit like a secret society. | 0:49:43 | 0:49:44 | |
It was happening all over the country. | 0:49:44 | 0:49:46 | |
I can only really speak for London. | 0:49:46 | 0:49:48 | |
But I guess all over the country | 0:49:48 | 0:49:49 | |
there were these little places of concentration of fanatics | 0:49:49 | 0:49:54 | |
discovering acoustic blues guitar, you know?! | 0:49:54 | 0:49:57 | |
It was quite underground. | 0:50:01 | 0:50:03 | |
I mean, it sounds stupid, | 0:50:03 | 0:50:05 | |
us little white kids identifying with the real thing, but we did. | 0:50:05 | 0:50:10 | |
You know, we thought, "Let's get on the road, man." | 0:50:10 | 0:50:12 | |
"Jack Kerouac." You know? "Let's get out there and hitch hike." | 0:50:12 | 0:50:15 | |
And we did and it was great, you know. | 0:50:15 | 0:50:17 | |
You did actually change your life. | 0:50:21 | 0:50:23 | |
But what made the biggest impact | 0:50:25 | 0:50:26 | |
on the lives of a generation of British musicians | 0:50:26 | 0:50:29 | |
was a moody Belgian film they saw on television. | 0:50:29 | 0:50:32 | |
# How is everything up in Heaven? | 0:50:39 | 0:50:42 | |
# I would love to know... # | 0:50:46 | 0:50:51 | |
'It turned out that the impact of that 17 minute documentary | 0:50:51 | 0:50:56 | |
'was enormous.' | 0:50:56 | 0:50:58 | |
# Just for these Earthly things | 0:50:59 | 0:51:04 | |
# Why did you lose your little halo? | 0:51:07 | 0:51:14 | |
# Baby, why'd you drop your wings? # | 0:51:14 | 0:51:18 | |
Well, some of these British teenagers grew up to be | 0:51:18 | 0:51:21 | |
Eric Clapton, Ray Davies, Keith Richards. | 0:51:21 | 0:51:25 | |
And this was their first visual exposure | 0:51:25 | 0:51:29 | |
to a blues musician. | 0:51:29 | 0:51:31 | |
# Heaven... # | 0:51:31 | 0:51:34 | |
It was always one man... | 0:51:34 | 0:51:36 | |
..with his guitar, versus the world. | 0:51:37 | 0:51:39 | |
You know, it wasn't a company. | 0:51:40 | 0:51:42 | |
It wasn't a band or a group or anything. | 0:51:42 | 0:51:44 | |
When it came down to it, it was one guy | 0:51:44 | 0:51:47 | |
who was completely alone | 0:51:47 | 0:51:49 | |
and had no options, no alternatives whatsoever | 0:51:49 | 0:51:52 | |
other than just sing and play to ease his pain. | 0:51:52 | 0:51:57 | |
And that echoed what I felt in many aspects of my life. | 0:51:57 | 0:52:01 | |
Broonzy gave the impression he was very centred in his own world, | 0:52:03 | 0:52:07 | |
self-invented world. | 0:52:07 | 0:52:10 | |
And he's a performer, as well. | 0:52:10 | 0:52:12 | |
It's not just his music, it's the totality. | 0:52:12 | 0:52:15 | |
It's like a great actor goes on and assumes a role. | 0:52:15 | 0:52:19 | |
Or he knows his role and he knows his character really well | 0:52:19 | 0:52:21 | |
and performs it. | 0:52:21 | 0:52:23 | |
So it's the whole presence, to me, | 0:52:23 | 0:52:25 | |
not just the playing. | 0:52:25 | 0:52:26 | |
And also he was versatile. | 0:52:26 | 0:52:29 | |
I mean, he wasn't just your gut blues. | 0:52:29 | 0:52:31 | |
He'd play beautiful melodies | 0:52:31 | 0:52:33 | |
and it kind of led you to think | 0:52:33 | 0:52:35 | |
that there are different kinds of blues. | 0:52:35 | 0:52:38 | |
You know? | 0:52:38 | 0:52:40 | |
And not everything is set as 12 bars | 0:52:40 | 0:52:43 | |
and set in just that one style. | 0:52:43 | 0:52:47 | |
It's very simple in concept | 0:52:47 | 0:52:50 | |
but to deliver it is another thing. | 0:52:50 | 0:52:53 | |
Bill didn't just deliver his music to Europe. | 0:52:59 | 0:53:02 | |
He went as far as North Africa | 0:53:02 | 0:53:04 | |
and even describes travelling down to Senegal, | 0:53:04 | 0:53:07 | |
becoming the first performer to take the blues "back to Africa". | 0:53:07 | 0:53:11 | |
'I played in Morocco and Algiers | 0:53:13 | 0:53:15 | |
'and then they sent me to a place called Senegal.' | 0:53:15 | 0:53:18 | |
'Back during the time of trading black people, | 0:53:19 | 0:53:22 | |
'which white people did, | 0:53:22 | 0:53:24 | |
'I really think that my foreparents came from there. | 0:53:24 | 0:53:27 | |
'From Senegal. | 0:53:27 | 0:53:28 | |
'A lot of those people was traded to the Americans.' | 0:53:28 | 0:53:31 | |
Bill reckoned he'd discovered the Broonzy family roots, | 0:53:33 | 0:53:37 | |
their African identity. | 0:53:37 | 0:53:39 | |
But every time he travelled home across the ocean, | 0:53:44 | 0:53:47 | |
he'd find the Chicago music scene moving ever further | 0:53:47 | 0:53:50 | |
from his down-home blues. | 0:53:50 | 0:53:52 | |
The audiences for blues in Chicago in the '50s | 0:53:56 | 0:54:00 | |
were embracing a set of artists | 0:54:00 | 0:54:02 | |
who were really reaching their first flowering - | 0:54:02 | 0:54:06 | |
Muddy Waters, Little Walter, Junior Wells. | 0:54:06 | 0:54:09 | |
And they were the headliners. | 0:54:09 | 0:54:11 | |
'Now these young boys tell me my blues is old-fogeyism.' | 0:54:13 | 0:54:16 | |
'That I don't rate no more in these modernist times. | 0:54:18 | 0:54:21 | |
'And they mean it! | 0:54:21 | 0:54:23 | |
'Don't try coming into these joints on the South Side | 0:54:23 | 0:54:26 | |
and singing one of those down-home Arkansas blues. | 0:54:26 | 0:54:28 | |
'Man, they'll beat you to death!' | 0:54:28 | 0:54:30 | |
Black folks are progressive people. | 0:54:33 | 0:54:37 | |
And we're looking forward. | 0:54:37 | 0:54:39 | |
When we look to the past, | 0:54:39 | 0:54:41 | |
we're looking in the direction of hurt, of slavery, | 0:54:41 | 0:54:45 | |
of vicious racism and night riders, | 0:54:45 | 0:54:48 | |
and minstrelsy with the blackface and the banjo. | 0:54:48 | 0:54:52 | |
The image of things past | 0:54:52 | 0:54:54 | |
is not something that black folks like to hold so closely. | 0:54:54 | 0:54:58 | |
For a lot of years we haven't. | 0:54:58 | 0:55:00 | |
Bill was now burdened with that image of things past | 0:55:03 | 0:55:07 | |
and his health was failing. | 0:55:07 | 0:55:08 | |
He'd become his own invention - | 0:55:10 | 0:55:13 | |
the country blues journey-man, | 0:55:13 | 0:55:15 | |
playing white holiday camps and colleges. | 0:55:15 | 0:55:18 | |
'I've travelled all over, tryin' to keep the old-time blues alive. | 0:55:20 | 0:55:24 | |
'And I'm going to keep on, as long as Big Bill is still living.' | 0:55:24 | 0:55:28 | |
Bill was the artist in residence | 0:55:33 | 0:55:35 | |
at this extraordinary little summer camp. | 0:55:35 | 0:55:38 | |
And I happened to be dropping in one day | 0:55:40 | 0:55:45 | |
to sing the campers some songs. | 0:55:45 | 0:55:49 | |
When I'd met Bill before, | 0:55:49 | 0:55:51 | |
he'd noticed that I'd bought a 16mm movie camera. | 0:55:51 | 0:55:55 | |
Bill said, "Do you have that camera with you?" | 0:55:57 | 0:55:59 | |
And I said, "Yes." | 0:55:59 | 0:56:01 | |
He said, "I think you should film me singing." | 0:56:01 | 0:56:06 | |
# Lord, I'm sittin' on this stump, baby... # | 0:56:06 | 0:56:10 | |
One day later, | 0:56:10 | 0:56:11 | |
he went under the knife for cancer of the throat. | 0:56:11 | 0:56:16 | |
But even though he knew this grim future awaiting him, | 0:56:17 | 0:56:23 | |
he was full of smiles. | 0:56:23 | 0:56:26 | |
# Lord, I'm sittin' on this stump, baby | 0:56:29 | 0:56:33 | |
# I declare I've got a worried mind | 0:56:33 | 0:56:37 | |
# Lord, I left my baby | 0:56:45 | 0:56:49 | |
# Oh, she was standin' in that back door, cryin'. # | 0:56:49 | 0:56:53 | |
The only time we realised the change was when he got sick. | 0:56:59 | 0:57:03 | |
And that was, you know, | 0:57:03 | 0:57:04 | |
he just wasn't able to keep up that... | 0:57:04 | 0:57:07 | |
..face any more. | 0:57:09 | 0:57:10 | |
You know, that happy-go-lucky thing. | 0:57:10 | 0:57:14 | |
I mean, he wasn't grouchy but he just wasn't able to... | 0:57:14 | 0:57:17 | |
You know, he had a hard time talking. | 0:57:17 | 0:57:20 | |
His voice... | 0:57:20 | 0:57:22 | |
it was like a whisper. | 0:57:22 | 0:57:24 | |
You know, you had to get really close to him. | 0:57:24 | 0:57:28 | |
The blues singer with no voice | 0:57:33 | 0:57:35 | |
had spent his last dollars on a cancer operation. | 0:57:35 | 0:57:38 | |
He died in August 1958, | 0:57:41 | 0:57:43 | |
leaving many friends and admirers. | 0:57:43 | 0:57:46 | |
For some years, Bill's seemingly urbane style of blues | 0:57:49 | 0:57:53 | |
fell out of favour in the States | 0:57:53 | 0:57:55 | |
and was all but forgotten. | 0:57:55 | 0:57:57 | |
But in Britain and Europe, | 0:57:58 | 0:57:59 | |
his reputation as the ambassador of the blues grew, | 0:57:59 | 0:58:03 | |
not least because of his unique mix of charm, modesty | 0:58:03 | 0:58:07 | |
and self-invention. | 0:58:07 | 0:58:09 | |
'When you write about me, | 0:58:11 | 0:58:13 | |
'don't say I'm a musician or a guitar player. | 0:58:13 | 0:58:17 | |
'Just write, | 0:58:17 | 0:58:18 | |
"Big Bill recorded 250 blues songs. | 0:58:18 | 0:58:22 | |
"He was a happy man when he was drunk and playin' with women | 0:58:22 | 0:58:26 | |
"and he was liked by all the blues singers. | 0:58:26 | 0:58:29 | |
"Some would get a little jealous | 0:58:29 | 0:58:31 | |
"but Bill would just buy a bottle of whisky and slip off from the party | 0:58:31 | 0:58:35 | |
"and he'd go home to sleep." | 0:58:35 | 0:58:37 | |
# Last night I were layin' sleepin', darling | 0:58:42 | 0:58:46 | |
# And I declare, Bill was all by his self | 0:58:46 | 0:58:51 | |
# Yes but the one that I really loved | 0:58:56 | 0:59:02 | |
# I declare, she was sleepin' someplace else... # | 0:59:04 | 0:59:07 | |
Subtitles by Red Bee Media Ltd | 0:59:07 | 0:59:10 |