For years, the song “Shine,” or “S-H-I-N-E,” has been shadowed by accusations of racist lyrics. Many assumed that for African-American artists like Louis Armstrong to perform it was a degrading compromise, a painful acceptance of derogatory material. Figures like Armstrong and the Mills Brothers seemed, in this view, to be uncomfortably yoked to material beneath their talent and heritage. Even the existence of different lyrical versions, such as Bing Crosby’s, was often interpreted as a clumsy attempt to sanitize a fundamentally racist song.
Here’s the version from RHAPSODY IN BLACK AND BLUE (with a nice close-up of drummer Tubby Hall):
And a decade or so later, a Soundie of SHINE from 1942 (with closeups of Sidney Catlett and dancer Nick Stewart):
However, this perspective overlooks a crucial element: the origin of “That’s Why They Call Me ‘Shine.'” Composed in 1910 by two African-American talents, Ford Dabney (music) and Cecil Mack (lyrics), the song’s narrative and intent are far from self-demeaning. Cecil Mack, born Richard C. McPherson, crafted lyrics that, upon closer inspection, reveal a powerful message of resilience and self-affirmation in the face of racial slurs.
Let’s examine the original lyrics of “That’s Why They Call Me ‘Shine'” to understand the song’s true essence:
Verse 1:
When I was born they christened me plain Samuel Johnson Brown,
I hadn’t grown so very big ‘fore some folks in the town
Had changed it ’round to Sambo, I was Rastus to a few,
Then Choc’late Drop was added by some others that I knew,
And then to cap the climax I was strolling down the line
When someone shouted, “Fellers, hey, come on and pipe the Shine.”
But I don’t care a bit,
Here’s how I figure it.
Refrain:
‘Cause my hair is curly,
‘Cause my teeth are pearly,
Just because I always wear a smile,
Like to dress up in the latest style,
‘Cause I’m glad I’m living.
Take troubles smiling, never whine;
Just because my color’s shady,
Slightly diff’rent maybe,
That’s why they call me “Shine.”
Verse 2:
A rose, they say, by any other name would smell as sweet,
So if that’s right, why should a nickname take me off my feet?
Why, ev’rything that’s precious from a gold piece to a dime
And diamonds, pearls, and rubies ain’t no good unless they shine.
So when these clever people call me “shine” or “coon” or “smoke,”
I simply smile, and smile some more, and vote them all a joke.
I’m thinking just the same,
What is there in a name?
Repeat Refrain.
Reading these verses, particularly verse two, compels a reconsideration of “Shine.” The lyrics directly address derogatory nicknames (“Sambo,” “Rastus,” “Choc’late Drop,” “shine,” “coon,” “smoke”) and subverts their intended insult. The protagonist embraces the nickname “Shine,” reclaiming it by associating it with positive attributes – curly hair, pearly teeth, a constant smile, stylishness, and the joy of living. The comparison to precious stones needing to “shine” further elevates the nickname, turning it into a symbol of inherent value and resilience.
Instead of being a song of self-deprecation, “That’s Why They Call Me ‘Shine'” becomes an anthem of self-acceptance and defiance. It’s a statement of inner strength, choosing to smile and rise above derogatory names. Understanding the original lyrics and the creators’ background provides a vital new lens through which to appreciate this jazz standard and its complex history. Perhaps it’s time to discard old assumptions and recognize “Shine” for what it truly is: a testament to the power of self-worth in the face of prejudice.
