PICKANINNY CAPERS (BENNETT, 1902)

When it comes to name calling and ugly words, I’ve long been of the “sticks and stones” school of thought - especially considering the way that languages and attitudes continuously evolve. Actions speak louder than words. Perhaps this view comes from a position of relative societal comfort - surely, there are slurs and jokes about nearly all of the cultures making up my own ethnic background, and for some of these groups, there is still a significant hatred or prejudice against in certain quarters - nevertheless, my own non-descript surname, the genealogical dilution of any significant cultural, linguistic, or visible markers, and my own appearance largely spares me the sting of racial or ethnic prejudice in 21st century America.
Theron C. Bennett’s first rag was composed in 1902 - dedicated to his graduating class at the New Mexico College of Agriculture and Mechanical Arts, he titled it “Pickaninny Capers.” Had this rag been composed in 2002 or 2022, by a Theron C. Bennett born in 1975, I doubt it would’ve received such a title. I doubt the title of this piece was seen as especially hateful or provocative by audiences of the time - in fact, the great Black ragtime genius Scott Joplin would compose music to a song called “I am Thinking of my Pickaninny Days” in the same year, 1902. I don’t think it’s fair to judge Theron C. Bennett based solely upon a word used in the title of this rag, especially using the standards of the 2020s.
However, Mr. Bennett isn’t off the hook quite yet, at least not from my perspective… He played a rather exploitative role in the publication of W.C. Handy’s “Memphis Blues.” There are various versions of the story online, but one version as excerpted from Perfessor Bill Edwards’ website:
“One day when established composer and publisher Theron C. Bennett was visiting his Memphis representative L.Z. Phillips at Bry's Department Store, he learned that Phillips had agreed to print Memphis Blues for Handy on speculation based on the clear potential of good sales, and was waiting for the first 1000 copies for distribution in Memphis. Based on Phillips' recommendation, Bennett told Handy he would act as a distribution agent offering him national exposure, a deal hard to turn down. Phillips and Bennett were both present with Handy when the initial delivery of 1000 copies was made. When Handy came to check on sales a week or so after the delivery, Phillips and Bennett showed him a stack of nearly the full 1000 copies, noting that sales were slow. They encouraged him to simply sell the piece outright, which confused Handy, who knew the piece had been popular, but still agreed to for a mere $50 for the plates and copyright. What the white pair did not tell the black Handy was that this was the second stack of 1000 as the first 1000 copies had sold out very quickly. A few weeks later, another 10,000 copies were ordered with Bennett's imprint on the cover, and Zimmerman was offered a job as a wholesale manager. Within months, Bennett sold the Memphis Blues to publisher Joe Morris for a rather substantial amount. To make matters worse, Bennett's frequent lyricist George Norton was hired by Morris to add words to a song version of Memphis Blues which were only fair at best, and which Handy clearly objected to. This whole episode gave Handy a bad taste for the business, and a wary eye toward white publishers.”
I think when people find a title like “Pickaninny Capers” offensive, it is not merely the word - which is thought to derive from the Portuguese “pequenino” (meaning small child) but also has various corollaries in Black pidgin languages across Africa and the Caribbean. Rather, it’s the context in which this piece was published - a time in which Black creators receiving unfair treatment was the rule rather than the exception. One might argue that music publishers and companies have exploited musicians - black and white - since time immemorial, and continue to do so to this day. However, I have to think that someone like W.C. Handy would have no hope of suing Theron C. Bennett and L.Z. Phillips for fraud in 1912 - no hope of justice, and in the off chance of a successful verdict, putting his own life at risk.

[@terrotorotbart8319]

So far Theron C Bennett has a way of taking me by surprise by the nature of these trios, I don't know what it is.

[@RS-gl9ht]

Another very happy piece thank you - hope you enjoyed playing it as much as I enjoyed listening to you!

[@NoveltyPiano]

Glad that you enjoyed it!