Hank Willis Thomas’s new exhibit, “We the People,” comes at a very appropriate time for Davidson College and our nation. Thomas’s sculpture, With These Hands: A Memorial to the Enslaved and Exploited, has finally opened after years in the making, marking a long-overdue recognition to those who were directly affected by the college’s historic connection to slavery. At the same time, our nation has reached a peak of political polarization. Thomas’s work invites discussion and deliberation amidst such a contentious time by reaching through the annals of history and pop culture to reckon with the social ills of then and how they have not completely disappeared today.
In the same way, this playlist is an attempt to reach back in time to gather popular gems that have tried in their own distinct way to wrestle with the injustices of the day. As we will find, many of these pieces address themes that have not completely become irrelevant. The selection of music spans multiple musical eras and genres, but the sentiments they share are similar. Some music connects to the era of the subjects portrayed in Thomas’s work, others are related to the subjects of the piece directly, and others reflect themes found throughout the show. Interspersed in the playlist are notable compositions by pioneering Black composers, from Duke Ellington and WC Handy to William Grant Still and Florence Price. This is done in homage to the work of the Charlotte Strings Collective, a recently formed string ensemble whose mission is to recognize the work of Black composers, and will also be playing the musical prelude before the sculpture dedication.
Below, you will find a sample of some of the music (many of which are songs called “We the People”) and the reasons for their inclusion:
The Music
“We the People” – The opening phrase to the Preamble is not only the namesake of Hank Willis Thomas’s show, but also the inspiration for some notable songs grappling with similar themes. One song sharing the title is a funky track by The Staple Singers. The gospel group that delved into pop, soul, and funk was no stranger to recording politically-minded music, despite, or perhaps in part due to their gospel background (see: Long Walk to DC, I See It, and Respect Yourself).
“We the People…”, a song by the influential jazz-rap group, A Tribe Called Quest, in their late period, is a far-from-subtle criticism of American politics in 2016.
“We the People,” the title track of the rare groove funk album from The Soul Searchers, has a fast, incessant quality that is impatient in trying to deliver its message of equality.
“We the People who are Darker than Blue” by Curtis Mayfield – is a timely piece by one of the greatest soul singer-songwriters of his generation. The additional words in the title turns the oft-quoted phrase into a call for action. His pleas to not stand by and to stand up to face the qualms of the day urge those he addresses in his song never to be complacent with their progress, as “tomorrow can be an even brighter day.”
“We the People” by Ben Sidran – This keyboardist, whose work is characterized by his interesting textures, fine musicianship, and strong vocals, combines all of this as he makes the point in a plain-spoken fashion that “We the People” means all people, everyone, and nothing less.
And “We the People,” from Ellen McIlwaine, combines elements from world music to create a stimulating variety, similar to the United States’ population.
“With These Hands” by Les McCann – Les McCann, a great jazz musician and early proponent of integrating elements of popular soul into the music, covered this classic song written in 1953 that shares the name of the Thomas’s statue. Les McCann was not shy to record politically-charged tunes, famously collaborating with Eddie Fisher to record the biting social commentary, “Compared to What.” Though “With These Hands” is a love song with pretty lyrics, it addresses the strong feelings of love expressed freely and passionately, reflecting a freedom that should be guaranteed to all.
“Long Walk to D.C.” by The Staple Singers – This cut from the Staple Singers is very in line with the piece, Silver Lining; it serves as a call to action for everyone, everywhere in the long journey, metaphorically and literally, that the March on Washington was. It even calls out states near the end, calling on the name of North Carolina, a center of the contentious climate that marked the civil rights era. Also, included on the playlist are versions of songs famously performed at the march by gospel powerhouse Mahalia Jackson, folk artist Joan Baez, and the enigmatic Bob Dylan.
“This is My Country” by The Impressions – A classic soul gem from the essential Chicago soul group, The Impressions, presented how Curtis Mayfield was such an excellent songwriter/singer/producer, carefully balancing a buoyant, catchy melody buttressed by a string and horn section with the gentle-sounding yet incisive lyrics being delivered by the pleasant, smooth voices of The Impressions. Off the album sharing the name of the song, the group in their clean suits are juxtaposed with the pile of rubble they stand on in the urban, dilapidated landscape. The lyrics speak boldly of Black people’s place in America, simultaneously celebrating and reprimanding the country they love for its treatment of them.
Mavis Staples covered the song incredibly with the backing of drummer Levon Helm of The Band fame. In her version, she maintains the same smooth passion that Mayfield and The Impressions deliver, but includes lines that address the hostilities of early 2010s politics.
“Loving” by Lucero – This song by alt-country band Lucero was included in the soundtrack of the film Loving, which depicts the story of Mildred and Richard Loving. The two were an inter-racial couple at a time when this remained socially unacceptable and illegal in parts of the U.S. Other songs have addressed topics of interracial love, such as “Irma Jackson” by country singer Merle Haggard, and the one-hit wonder, “Brother Louie” by the Stories, originally performed by the multiracial British group, Hot Chocolate. Similarly, the song Storybook Children by Billy Vera and Judy Clay is one of the first recorded instances of a racially integrated duo singing for a major label. Though their relationship was professional, many network executives believed it was deeper and prevented them from performing on television.
Prison Songs – The piece, Justice, is made from old prison uniforms worn by African American prisoners. Some preservations of their experience exist within the recordings made by essential ethnomusicologist Alan Lomax. “Old Alabama“ stands out as a lucid critique of the hostile conditions exemplified in the Southern State. Additionally, blues and pop songs like ”Parchman Farm Blues” and “Chain Gang” represent facets of the African-American prison experience.
“Freedom Rider” by Art Blakey – This jazz number by master drummer Art Blakey was written as an explicit tribute to the famed Freedom Riders. The sound of Blakey’s percussion is at times abrasive and unrelenting, reflecting the Freedom Riders’ determined attitudes. Additionally, Blakey integrated Latin and African-influenced rhythms, reflecting a diverse palette of cultural influences
“Buffalo Soldier” by Bob Marley – Marley’s catchy tune sounds so carefree that it is easy to forgive someone for glossing over the pressing subject matter. Marley goes back in history to deliver a tribute to the Black men who fought for America in the American Civil War and the Native American Wars. These same men are featured in Thomas’s works that resemble postcards.
“What’s Going On” by Marvin Gaye – This quintessential protest song has only gotten better with time. No words can truly capture the way Gaye perfectly captures the struggles and hopes of the oppressed during the period. These same messages that continued to be conveyed through Thomas’s work, especially in this exhibit.
– Caleb Machorro ’28
Listen to the music mentioned and more here: