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BHM 100*: Meet Robert Smalls, who Escaped Slavery by Commandeering a Confederate Boat, Captained That Same Boat for the Union Navy, and Became the 1st African-American Elected to U.S. Congress

[*This year marks the 100th anniversary since Dr. Carter G. Woodson, the “Father of Black History” founded Negro History Week in February 1926. Fifty years after that, President Gerald Ford officially recognized Black History Month. In 1986, Congress passed a law designating February as Black History Month across the U.S.]

Robert Smalls was the first Black man elected to U.S. Congress during Reconstruction, but of course his incredible story and accomplishments did not begin there. Smalls was born into slavey in 1839 in Beaufort, South Carolina and started his journey to national prominence by daring to escape slavery during the Civil War.

Smalls, like many other enslaved people, was made to work for the Confederate forces. Menial labor such as grave digging, cooking, digging trenches, etc. were the most common jobs, but some enslaved people were used in skilled labor positions. Smalls, who could navigate the waters in and around Charleston, was used to guide transport ships for the Confederate Navy.

On May 13, 1862, Smalls convinced several other enslaved people to help him commandeer a Confederate transport ship, the CSS Planter, in Charleston Harbor. Smalls, in a captain hat and using Confederate hand signals, sailed from Confederate-controlled waters to the U.S. Naval blockade. By doing so, Smalls gained freedom for himself, several other enslaved people and also for his family.

Illus. in: Harper’s Weekly, v. 6, 1862 June 14, p. 372. (via PICRYL Public Domain)

Smalls’ example of cunning and bravery helped convince President Abraham Lincoln to accept Black soldiers into the U.S. Army and Navy. Smalls became Captain of the same boat for the Union Navy and helped free enslaved peoples as he fought and outwitted the Confederate Navy several more times during the duration of the War.

Check out the PBS NewsHour video about this event:

After the South surrendered, Smalls returned to Beaufort, S.C. and purchased his enslaver’s house, which was seized by the Union in 1863. His enslaver sued to get it back, but lost in court to Smalls.

Smalls learned to read and write during this time, and after going into business to service the needs of freedmen, Smalls was elected to the State House of South Carolina. While there, Smalls authored state legislation to provide South Carolina with the first free and compulsory public school system in the United States. He also founded the Republican Party of South Carolina.

In 1874, Smalls was elected the first Black member of U.S. Congress. In backlash to his election, his opposers began gerrymandering across South Carolina to start tilting seats back to white men.

Conservative Southern Bourbon Democrats, who called themselves the Redeemers, also resorted to violence and election fraud to regain control of the South Carolina state legislature. As part of wide-ranging white efforts to reduce African-American political power, Smalls was charged and convicted of taking a bribe five years prior in connection with the awarding of a printing contract.

Smalls was pardoned as part of an agreement by which charges were also dropped against Democrats accused of election fraud. But the scandal took a political toll, and Smalls was defeated by Democrat George D. Tillman in the senate election in 1878, and again, narrowly, in 1880. Smalls successfully contested the 1880 result and regained the seat in 1882.

In 1884 he was elected to fill a seat in a different district. He was nominated for Senate but defeated by Wade Hampton in 1886. Smalls died of malaria and diabetes in 1915 at the age of 75 and was buried in his family’s plot in the churchyard of the Tabernacle Baptist Church in downtown Beaufort.

According to curators at the National Museum of African American History and Culture, Smalls’ family went on to be very successful, and there is a Robert Smalls lecture at the University of South Carolina every year.

The monument to Smalls in the churchyard is inscribed with a statement he made to the South Carolina legislature in 1895:

My race needs no special defense, for the past history of them in this country proves them to be the equal of any people anywhere. All they need is an equal chance in the battle of life.

To learn more about Robert Smalls, check out Be Free or Die by Cate Lineberry or Gullah Statesman: Robert Smalls, From Slavery to Congress 1839 to 1915 by Edward A. Miller, Jr.

BHM100*: Remembering Fannie Lou Hamer, the Mississippi Plantation Worker Jailed and Beaten for Trying to Vote; She Fought Back as a Civil Rights Activist, Organizer and Powerful Speaker

[*This year marks the 100th anniversary since Carter G. Woodson, the “Father of Black History” founded Negro History Week in February 1926. Fifty years after that, President Gerald Ford officially recognized Black History Month. In 1986, Congress passed a law officially designating February as Black History Month.]

“Sick and tired of being sick and tired” in the 1960s, Mississippi plantation worker Fannie Lou Hamer was fired, threatened by white supremacists, and beaten in police custody when she tried to vote and register others to do the same.

Fannie Lou Hamer (photo via PICRYL Creative Commons)

But Hamer would not be silenced. She worked with other activists in her church and volunteers from the Student Nonviolent Coordinating Committee (SNCC) to travel county to county to register other Black people to vote.

Hamer then formed the Mississippi Freedom Democratic Party and demanded to represent her state at the 1964 Democratic Convention. Hamer fought for voting rights, education rights, and economic rights (she formed the Freedom Farm Collective to fight for redistribution of wealth from usurious sharecropping) and even ran for Senate.

Although she wasn’t rich, traditionally educated or well-connected, Hamer was a grassroots leader who got involved – and stayed involved – because she believed to her core “Nobody’s free until everybody’s free.”

Hamer passed in 1977 after years of dealing with serious health issues, but her legacy as an outspoken and effective champion for equal rights will never be forgotten.

The documentary Fannie Lou Hamer’s America debuted on PBS in 2022 and can now be seen in full via WORLD Channel on YouTube.

To learn more about Fannie Lou Hamer, you can read her autobiography on snccdigital.org, read 2013’s The Speeches of Fannie Lou Hamer: To Tell It Like it Is, check out 2021’s Until I Am Free: Fannie Lou Hamer’s Enduring Message to America by Keisha N. Blain, This Little Light of Mine: The Life of Fannie Lou Hamer by Kay Mills or Walk With Me: A Biography of Fannie Lou Hamer by Kate Clifford Larson.

You can also watch clips of Hamer’s speeches on YouTube.

Sources:

HOLIDAY MUSIC: “Groove Christmas 2025” Playlist (LISTEN)

by Marlon West (FB: marlon.west1 Threads: @stlmarlonwest IG: stlmarlonwest Bluesky: @marlonweststl.bsky.social Spotify: marlonwest)

Hello and Happy Holidays,

It’s your friend and selector, Marlon West, with another collection for GOOD BLACK NEWS. GROOVE CHRISTMAS 2025 is an eclectic mix of Christmas music, much of which was released this year.

This collection features favorites from Donny Hathaway, Nina Simone, Lou Rawls and John Legend, alongside recent releases by artists like Rebel Rae, Aloe Blacc, Alex Harris and CoCo Jones. I’ve also included selections from Duke Ellington’s classic 1960 “Nutcracker Suite” as a unifying thread.

I hope this seasonal collection introduces you to new classics and favorites to enjoy this year and beyond.

Please also feel free to dig into my earlier offerings, including “Soulful Christmas,” “Cool Yule: A Jazzy Christmas Playlist,” and “Christmas Around The World,” all of which are still available.

Have a wonderful Holiday Season. I will be back with another offering in January 2026.

Until then, stay safe, sane, and kind.

Marlon West (photo courtesy Marlon West)

MUSIC MONDAY: “The Crossroads: A Blues Halloween Playlist” (LISTEN)

by Marlon West (FB: marlon.west1 Threads: @stlmarlonwest IG: stlmarlonwest Bluesky: @marlonweststl.bsky.social Spotify: marlonwest)

It’s Music Monday and Halloween here at Good Black News! It’s your friend and selector, the groove conductor, Marlon West. I’ve returned once more during this Season of the Witch with another collection.

I am just back from a screening and discussion with Ryan Coogler and part of his creative team behind SINNERS. It was the fifth viewing for me, in whole or in part.

I saw it opening day laser projected, two weeks later on 70mm IMAX, streamed it twice, once with a sista in the lower right corner offering Black ASL, and today a 70mm print projected at the Directors Guild of America‘s theater with a very diverse and reactive crowd early on a Sunday morning. I was delighted to run into our GBN Editor-In-Chief Lori Lakin Hutcherson and her mother at the same screening.

I came right home and started pecking a few words on this season’s music collection, The Crossroads: A Blues Halloween Playlist.

As any of you that enjoy my Music Monday playlist knows, I love me some Halloween. This is at least the fifth All-Hallows Eve collection I’ve done for Good Black News.

The cinematic juggernaut that is SINNERS is a good reminder of just how much the blues has dealt with scares both supernatural and real-world based.

From Robert Johnson’s mythic trip the the crossroads to Blind Willie Johnson’s “Dark Was The Night, Cold Was The Ground,” the blues has provided its share of eerie moments. Bo Diddley’s iconic ‘Who Do You Love” opens with following boasts:

I walked forty-seven miles of barbed wire
Used a cobra snake for a necktie
Got a brand new house on the roadside
Made from rattlesnake hide
Got a brand new chimney made on top
Made out of a human skull

Oh, that’s a Halloween song, all right! Howlin’ Wolf, Koko Taylor, RL Burnside, Norma Tanega, Gary Clark Jr., and so many more purveyors of the blues are present for this Halloween collection.

Whether your plans include handing out candy to hobgoblins of all ages, chillin’ with friends,  or kickin’ at home with that porch light out, here is another autumnal offer to enjoy during this Halloween Season.

Please enjoy this collection, and poke around for my others too:
(https://open.spotify.com/user/marlonwest)

See ya next month!

And as always, stay safe, sane, and kind!

Marlon West (photo courtesy Marlon West)

MUSIC MONDAY: “Dance Jazz” (LISTEN)

by Marlon West (FB: marlon.west1 Threads: @stlmarlonwest IG: stlmarlonwest Bluesky: @marlonweststl.bsky.social Spotify: marlonwest)

Happy Music Monday, you all. I hope this missive finds you smiling and well. It’s your friend and selector, Marlon West, back again with a new collection of tasty tracks to enjoy today and all week long.

Not long ago I was chatting with a pal who doesn’t like jazz, because she can’t dance to it. While of course there was and is big band jazz created for dancing. What they were talking about was the kind of grooves that lovers of R&B, Soul, and Funk enjoy so much.

Being always up for a challenge I created this collection of Dance Jazz.

It features New Orleans brass bands, remixes of jazz standards, and collaborations with jazz musicians and hip hop artists.

You’ll find genre-bending musicians like Roy Ayers, Stanley Clarke, George Duke, and Herbie Hancock.

There are offerings of “Jukebox Jazz” created by Art Blakey, Lou Donaldson, Dorothy Ashby and others as a response to the more accessible and popular Rhythm and Blues of the 1960s.

Like all these GOOD BLACK NEWS collections, this one has have been fun to make.

Hope you will enjoy these shimmy-inducing jazz tracks. Stay tuned for some Halloween candy-slinging next month.

As always, stay safe, sane, and kind!

Marlon West (photo courtesy Marlon West)

MUSIC MONDAY: “Great Moments in Funk” aka Funk 101 (LISTEN)

Marlon West (photo courtesy Marlon West)

MUSIC MONDAY: “SINNERS Playlist” (LISTEN)

by Marlon West (Bluesky: @marlonweststl.bsky.social, Spotify: marlonwest)

MUSIC MONDAY: “Everyday People”: The Essential Sly and the Family Stone Collection (LISTEN)

by Marlon West (Bluesky: @marlonweststl.bsky.social, Spotify: marlonwest)

WHM: “Spirit In The Dark” – Celebrating the Brilliant Voice and Pen of Queen of Soul Aretha Franklin, Born #OnThisDay

by Lori Lakin Hutcherson, GBN Founder and Editor-in-Chief

It’s commonly known if Aretha Franklin covered a song you wrote and/or recorded, it would from her recording forward be known as her song.

Otis Redding, composer and original performer of “Respect”, said as much at the Monterey Pop Festival in 1967: “a girl took [‘Respect’] away from me, a friend of mine, this girl she just took this song.”

Other examples of this usurpation include “I Say A Little Prayer” (composed by Burt Bacharach/Hal David and recorded by Dionne Warwick), “Until You Come Back To Me”(composed by Stevie Wonder) and “Bridge Over Troubled Water” (composed by Simon and  Garfunkel).

If you want to hear her versions of these songs along with even more evidence of Aretha’s virtuoso mastery of covers, check the link to my playlist “How I Got Over”: Aretha Franklin’s Cover Songs right here.

But today, on what would have been her 83rd birthday, I’m drawn to the songs that Franklin herself composed or co-wrote — ones that shaped her sound and offered insights into her own mind and soul. A collection of those gems, “Rock Steady”: Songs Aretha Franklin Wrote is included below:

While her classic bangers “Think”, “Dr. Feelgood” and “Rock Steady” contain, comment and reflect upon the energy of the civil rights and women’s movements of the 1960s and 1970s — movements rooted in opposing and dismantling white supremacy and patriarchy — and are more relevant than ever in the current political climate, it’s “Spirit in the Dark” that’s hitting hardest for me today.

Granted, “Spirit in the Dark” is an all-time Aretha favorite of mine, because it is simultaneously the most and least gospel gospel song I’ve ever heard.

It’s mind-blowing, really. The slow, rocking gospel intro, the lift into the chorus, the transition into the hyped up “get the spirit” section – the compositional structure is masterfully classic – yet also feels completely secular and modern in how Franklin arranges it.

The lyrics are as uplifting as they are raunchy and Aretha’s delivery of the song is deliciously desirous and divine. This intentional blurring of what were traditionally thought of as separate lines/sounds/philosophies/lifestyles brings a wholeness, a completeness and a joyousness to both the sacred and profane.

Because really, at the end of the day, life is life, love is love, joy is joy and rapture is rapture. All avenues to it that don’t harm others are all good and it is my strong belief that Aretha knew this and was expressing precisely this in this original song of hers – and throughout her life.

“Spirit in the Dark” expresses for me what I’ve been feeling since the fully disappointing result of the 2024 Presidential Election – the desire to connect to real spirit or be a real spirit amid the collective darkness and doom. To live our truths no matter what systemic forces attempt to proscribe or prohibit for us.

Also, it gave me the glorious excuse to rewatch and share the 15 minute video above of the live 1971 performance of “Spirit In The Dark” at the Filmore West where Aretha plays the Wurlitzer, spirit dances across the stage (damn if she doesn’t do an early version of the moonwalk in here!) and spontaneously brings up Ray Charles to riff and workout on the track as well.

As I wrote several years ago in elegy to her 2018 passing, among so many other things, Aretha Franklin was a Black woman from Detroit by way of Memphis who forever looked like my grandmother, my mother, my auntie, my deacon – and lived in the kind of body brought to this nation solely to serve this nation, not to sway it.

Yet that’s exactly what she did, with the breadth of a brilliance that will be revered and remembered forever.

WHM: How Evangelist and Guitar Pioneer Sister Rosetta Tharpe Turned Her Rock of Ages into Rock N Roll

Born on this day in 1915, Rosetta Tharpe revolutionized the sound of electric guitar by using distortion with her unique phrasing & picking, inspiring Chuck Berry, Little Richard, Johnny Cash & Elvis Presley

by Lori Lakin Hutcherson, GBN Editor-in-Chief

Born in 1915 in Cotton Plant, Arkansas to musical parents who also worked as cotton pickers, Tharpe was a musical prodigy who is reported to have picked up a guitar at four and began performing at age six with her mother, Katie Bell Nubin, a traveling evangelist and mandolin player for the Church of God in Christ.

Though strictly a gospel performer at the outset, by early adulthood, Tharpe started blending spiritual lyrics with the secular sounds of the time, bringing gospel music into nightclubs, while introducing elements of rhythm and blues to church audiences.

At 23, Tharpe started recording her genre-bending sound for Decca Records, resulting in hits such as “Rock Me” and “That’s All”. Tharpe was hired by Lucky Millinder in 1941 to sing and play with his swing band, and toured with them for years performing even more worldly material, including uptempo dance numbers such as I Want A Tall Skinny Papa.

Though considered transgressive and controversial at the time, causing an uproar among the gospel community, this boundary-crossing by Tharpe ultimately cemented her legacy as “Godmother of Rock and Roll.”

Though it was rare for women to play guitar in the 1930s and 1940s, Tharpe was among the first popular recording artists to use heavy distortion on her electric guitar, and her picking technique and phrasing influenced countless artists who followed, including Chuck Berry, Little Richard, Elvis Presley, and Johnny Cash.

Little Richard cited Tharpe as one of his major influences, and Chuck Berry once said his career was “one long Rosetta Tharpe impression.”

When you hear Tharpe-penned songs like “That’s All”, “This Train”, “I Want To Live So God Can Use Me” or her covers of gospel tunes like “Just A Closer Walk With Thee”, “Precious Lord, Hold My Hand”, “I Want Jesus To Walk Around My Bedside”or “Strange Things Happening Every Day”, you know neither Richard nor Berry were exaggerating.

Tharpe synthesized blues, hokum, hillbilly, gospel and swing music into her own rocking brand of strumming, bending, picking and vocalizing.

Tharpe’s inclusion on the brief-but-innovative track “Smoke Hour ⭐️ Willie Nelson” on Beyoncé’s Grammy-winning LP Cowboy Carter (2024) inspired me to revisit Tharpe’s foundational, liminal music last year via The Decca Singles, Volumes 1-5compilation series (streaming on Spotify and Apple Music), which covers her early recordings plus her big band, Trio and her later work.

“Smoke Hour ⭐️ Willie Nelson” features a radio dial switching between yodeling, blues, gospel & 50s rock n roll until we land on K-N-T-R-Y station DJ Willie Nelson teeing up Beyoncé’s “Texas Hold ‘Em” into this lineage. The lone female voice heard among the dial turns? Tharpe singing her iconic version of “Down By The Riverside”.

Tharpe was known for her exuberant performances (secular & non-secular) & often her only accompaniment was her own dynamic guitar playing.

A personal Tharpe favorite is “Didn’t It Rain”), where she’s backed by the Sam Price Trio, trades vocals with frequent collaborator Marie Knight and rips an electrifying guitar solo – this song goes so hard and is still so infectious, I can’t help myself from bopping along every time I hear it.

Below is video of her famous live 1966 performance of it in France:

Tharpe was finally inducted into the Rock n Roll Hall of Fame in 2018, and in 2024 Gibson Guitars debuted the Rosetta Tharpe Collection of merchandise in tribute to her (including a miniature replica of the iconic 1961 Les Paul she used to play, but she is still not well-known enough for her vital contributions to American music, even with the Cowboy Carter hat tip.

To learn more about Tharpe, check out the 2008 biography Shout, Sister, Shout: The Untold Story of Rock-And-Roll Trailblazer Sister Rosetta Tharpe by Gayle Wald, watch the 2011 documentary The Godmother of Rock and Roll – Sister Rosetta Tharpe, the Gibson Guitars-produced short documentary Shout, Sister, Shout: Sister Rosetta Tharpe, as well as performance clips of her available on YouTube.

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