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3. Sissy Blues

Ma Rainey

[Verse 1]I shimmied last night, the night beforeI'm going home tonight, I won't shimmy no more"Ah, hello, Central, it's 'bout to run me wildCan I get that number, or will I have to wait a while?"
[Verse 2]I dreamed last night I was far from harmWoke up and found my man in a sissy's arms"Ah, hello, Central, it's 'bout to run me wildCan I get that number, or will I have to wait a while?"
[Verse 3]Some are young, some are oldMy man said sissy's got good jelly roll"Ah, hello, Central, it's 'bout to run me wildCan I get that number, or will I have to wait a while?"
[Verse 4]My man's got a sissy, his name is Miss KateHe shook that thing like jelly on a plate"Ah, hello, Central, it's 'bout to run me wildCan I get that number, or will I have to wait a while?"
[Verse 5]Now all the people ask me why I'm all aloneA sissy shook that thing and took my man from home"Ah, hello, Central, it's 'bout to run me wildCan I get that number, or will I have to wait a while?"

  • Verse 1

    This opening verse suggests a sudden shift in Rainey's behavior. What were once fun, frisky nights back-to-back have soured for reasons that remain unclear to the listener. Whatever the cause, it demands Rainey's attention, pulling her away from the fame-driven lifestyle she previously embraced. One might speculate that this shift is linked to something occurring at night, preventing her from continuing her usual nightlife activities. The refrain, "Ah, hello, Central..." invokes the imagery of telephone operators, who were critical communication hubs in the 1920s. Rainey's use of this device could signify a desire for connection or clarity amidst chaos.

  • Verse 2

    On top of shedding light on why Rainey is done shimmying, this verse juxtaposes the safety of a dream world with the harshness of waking reality. The discovery of her man "in a sissy’s arms" disrupts traditional narratives of betrayal, introducing queerness as a central element in the speaker’s heartbreak. The use of "sissy," a disparaging term for queer men, reveals the complex dynamics of gender and sexuality within Black communities during this era. While queerness was often celebrated in underground spaces, it also existed under the shadow of societal stigma, adding layers of tension to the lyric.

  • Verse 3

    The term "jelly roll," a slang expression for sexual prowess, adds humor and sensuality to this verse. The speaker’s man’s admiration for the sissy challenges heteronormative assumptions about desire, presenting queerness not as a deviation but as an undeniable force within the narrative. This line disrupts traditional gender roles, suggesting that the appeal of the "sissy" transcends rigid binaries of masculinity and femininity.
    This verse reflects the playful yet subversive nature of the blues. Much like Florence Mills, who refused to conform to minstrel stereotypes, Ma Rainey uses coded language to critique societal norms while entertaining her audience. The emphasis on sexual allure also mirrors the bawdy humor found in Bessie Smith’s lyrics, where women often reclaimed their sexuality as a source of power and autonomy.

  • Verse 4

    The personalization of the sissy as "Miss Kate" humanizes them, moving beyond stereotypes to present them as a central character in the speaker’s narrative. The description of Miss Kate "shaking that thing like jelly on a plate" evokes the fluidity and exuberance of queer performance styles, reminiscent of Harlem cabaret culture. The lyrics also highlights the tension between admiration and resentment, as the speaker acknowledges Miss Kate’s magnetism even while lamenting the loss of her man. Thus, this duality underscores the complexities of attraction and rivalry within relationships while affirming the legitimacy of gay relationships and sexuality.

  • Verse 5

    This verse confronts the speaker’s public humiliation, underscoring how personal struggles become a source of gossip and scrutiny. The line "all the people ask me why I’m all alone" highlights how the community’s prying questions exacerbate her pain, turning her loss into a spectacle. The central refrain, "Ah, hello, Central," repeated throughout the song, acts as both a literal and metaphorical call for help. Its inclusion until the end suggests the speaker’s increasing desperation, emphasizing how she remains trapped in a loop of betrayal, public judgment, and unfulfilled attempts to regain control.