Black Swan Records and the Political Economy of African American Music

The Black Sheep that is Black Swan

A response to Co-workers in the Kingdom of Culture: Black Swan Records and the Political Economy of African American Music

            In David Suisman's article Co-workers in the Kingdom of Culture: Black Swan Records and the Political Economy of African American Music he traced the rise and fall of this short lived black owned record company who he claimed was bankrupted by large American cooperation's. In order to counter prejudice the African Americans faced in the business and entertainment fields, Harry H. Pace (a  protégé of W. E. B. Dubois) established Black Swan Records. The formation of this enterprise derived from his want to create a record company that supported African American music. Also, he felt that integration of black and white music would not only be empowering, but it would be altogether better for American society. In the process, however, Pace unknowingly created a peculiar and intriguing nexus of music, politics, business, and racial uplift.

Prior to this the only successful black owned industries those related to insurance and banking. However, the few that gain commercial popularity were those who were ridiculed for their “coon” songs and ragtime music that emerged at the turn of the twentieth century. He produced, "songs of slave spirituals (prgh. 19)," and music which, "the Negro and the white man can be brought to have a mutual understanding (prgh. 20)." Therefore, Pace felt by this establishment he would create an equal opportunity place of employment, as well as give them musical freedom. Also, he wanted to relieve them from the creative constraints from the white production companies.

            In order to branch out to new markets Black Swan Records began utilizing their resources by printing advertisements in trade presses, black, newspapers, and other black periodicals. They also started to pay their acts to sing a certain style and genre of song in order to appeal to the masses instead of letting them rely on their own unique inspirations. And, as successful and detrimental as it was, they started a touring vaudeville act called the Black Swan Troubadours.

Black Swan Records even received praise from W. E. B. Dubois when he concurred in a speech towards the National Association for the Advancement of Colored People by saying:

I do not doubt that the ultimate art coming from black folk is going to be just as beautiful, and beautiful largely in the same ways, as the art comes from white folk, or yellow, or red, but the point today is that until the art of the black folk compels recognition they will not be rated as human. And when through art they compel recognition then let the world discover if it will that their art is as new as it is old and as old as new (prgh. 20).

This address changed the minds of many entertainers, businessmen in the entertainment industry, and media outlets. Because Dubois was such an influential figure in the civil rights movement, the personal connection between Pace and him was an invaluable asset in the progression of this record company to dissuade any of their opposition.

            Although Black Swan Records received support from the Music School Settlement for Colored People, New York Symphony Society, and the Music School Settlement in Harlem, the animosity between classes was never completely silenced and it only seemed to spark more competition. Many production companies began to slander and use libel to deface the company; as well as integrate blacks into there cooperation's in attempts to bankrupt them.

            Outwardly Suisman stated the demise of Black Swan Records can be most attributed to the blues and jazz records surge in popularity, as well as the introduction of the radio. Because the aforementioned genres were the main focus of popular culture it inhibited his company’s ability to make his music a commanding repertoire of serious and trendy music.

            Furthermore, Suisman said because the premise for the company was to be for independent African American, it became contradictory of itself to become as mainstream and successful as it was. Many artists that were considered underground or “indie” lost the intimate connection with their fans they received early in their careers. Also, artists did not want to sign under their label because they did not want to be insulted and labeled “mainstream.”

            Also, the conflict between human expression and the aesthetic appreciation of art severely conflicted with the businessman’s desire for social acceptance, profit maximizing, and expansion to form somewhat of a monopolistic enterprise.

            Lastly, and probably most deadly was the incorporation of white artists who changed there names to blacks pseudonyms. The public never caught onto this deception and therefore Pace said, "Racial difference was not audible; rather it was artificially or arbitrarily designed (prgh. 53)." Even though the records victimized itself, it opened the doors for future African American and white integration mediums.

            However, it seems he neglected to mention the reason that many blacks did not speak out against the deception was most likely out fear of trying to restrain the advancements of a white culture. Many people were legally reprimanded and illegally tormented for trying to become more superior and restraining the progression of them. Also, the black community probably gained a sense of pride since the integration put them at the same level (and sometimes higher) than the white artists.

             Moreover, he failed to mention due the lack of economic stability many African Americans spent what little money they had on sustaining their life and supporting their families instead of on entertainment. During that time, money was scarce and jobs were not handed to African Americans the way they were to white people. This racial and social conflict would thus limit them from having a surplus of cash to purchase frivolous amenities when there were bills to pay and relatives to financially support.

             Also, the introduction of the radio and the sudden popularity of jazz and blues would have caused all outlets of music to crumble, not just Black Swan Records. It would have seemed more plausible that economists would have noticed a downtrend in all forms of entertainment as well if this was the case.

            Lastly, the success of an independent production company would be admirable, not ironic; thus not have lead to its bankruptcy. When fans have followed a singer from the time they first started out they usually gain a sense of pride for them because they have been able to follow them through there good times in their band. Additionally, long time fans would be able to brag that they knew of a particular artist before they were imbedded in popular culture. Granted, many people do become bitter when this happens. However, most true lovers of their art form would not abandon the artists, but would hold revere in the fact that they have accomplished the feat of becoming successful.

David Suisman, "Co-workers in the Kingdom of Culture: Black Swan Records and the Political Economy of African American Music." Journal of American History. Vol. 90, No. 4. (March 2004). pages: 1295-1324