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6. Prove It on Me Blues

Ma Rainey

[Verse 1]Went out last night, had a great big fightEverything seemed to go on wrongI looked up, to my surpriseThe gal I was with was gone
[Verse 2]Where she went, I don't knowI mean to follow everywhere she goes;Folks say I'm crooked. I didn't know where she took itI want the whole world to know
[Chorus]They say I do it, ain't nobody caught meSure got to prove it on me;Went out last night with a crowd of my friendsThey must've been women, 'cause I don't like no men
[Verse 3]It's true I wear a collar and a tieMakes the wind blow all the whileDon't you say I do it, ain't nobody caught meYou sure got to prove it on me
[Chorus]Say I do it, ain't nobody caught meSure got to prove it on meI went out last night with a crowd of my friendsIt must've been women, 'cause I don't like no men
[Verse 4]Wear my clothes just like a fanTalk to the gals just like any old man'Cause they say I do it, ain't nobody caught meSure got to prove it on me

  • Verse 1

    Rainey begins by documenting an intimate conflict, framing queer love as both personal and relatable. However, the timing of this song’s release—1928—adds layers of meaning. The late 1920s marked the apex of Rainey’s career but also coincided with the rise of a more centralized entertainment industry that increasingly favored sanitized representations of femininity and sexuality. Rainey’s choice to highlight a queer relationship amidst this shift signals her defiance against both industry norms and societal pressures to conform. The “great big fight” may also symbolize broader conflicts faced by queer women navigating love under scrutiny. Queer relationships were often targeted in both Black and white communities, where homophobia intersected with respectability politics. This line could subtly reference Rainey’s own brush with the law, such as her arrest in 1925 for hosting a lesbian party, which placed her private life under public judgment. The emotional rupture described in the verse mirrors the instability imposed on queer relationships by legal and social systems, providing a poignant entry point into the complexities of identity and love.

  • Verse 2

    In this verse, Rainey confronts societal perceptions of her queerness head-on, reclaiming the derogatory term “crooked” as a badge of identity. This reclamation resonates with the ethos of the B*** aesthetic, wherein queer Black women adopted and subverted stereotypes of deviance. By asserting “I want the whole world to know,” Rainey transforms personal desire into a public declaration, a move that directly challenges the respectability politics that sought to silence queer voices in both the Black church and broader society.
    As part of "Prove It On Me Blues" marketing, a Chicago Defender ad featured Rainey in masculine attire, surrounded by women, while a policeman lurks in the background (see image below). This image, coupled with her lyrics, speaks to Rainey’s awareness of the surveillance culture that queer people faced. Her lyric “I mean to follow everywhere she goes” counters this dynamic by asserting agency over her desires, refusing to let societal judgment dictate the terms of her love. This verse thus functions not just as a continuation of her story but as a manifesto for visibility and autonomy.

  • Chorus

    The chorus is the heart of Rainey’s defiance, blending humor with pointed critique. The phrase “ain’t nobody caught me” mocks the legal and societal policing of queer bodies, a particularly acute issue during the 1920s, when anti-vice campaigns targeted spaces frequented by queer individuals. Rainey’s taunting tone reveals her strategy of navigating this scrutiny: by daring accusers to “prove it,” she destabilizes the power dynamics of surveillance and control.
    The line “they must’ve been women, 'cause I don’t like no men” is radical in its directness, leaving little room for misinterpretation. This openness contrasts sharply with the coded language often used by queer artists of the era. Rainey’s humor here also reflects the blues tradition of using wit to mask deeper critiques. B*** artists often wielded humor to create space for subversive messages, allowing them to confront oppression while evading censorship. This chorus exemplifies that dual function, celebrating queer identity while lampooning the absurdity of societal norms.

  • Verse 3

    This verse foregrounds Rainey’s gender nonconformity, positioning her attire as a deliberate act of rebellion. The “collar and tie” not only signify her alignment with the B*** aesthetic but also act as a visual rejection of the restrictive femininity imposed on Black women by both white society and the Black middle class. Clothing here becomes a weapon against erasure, turning the body into a site of resistance.
    The enigmatic line “makes the wind blow all the while” is open to interpretation. It could symbolize the disruption Rainey causes simply by existing authentically, unsettling those who cling to rigid gender and sexual norms. Alternatively, it may reference the liberating power of embracing her true self, with the “wind” signifying freedom. This layered metaphor reflects the complexity of Rainey’s artistry, where seemingly simple phrases carry profound cultural weight.
    This verse also revisits the refrain “ain’t nobody caught me,” reinforcing Rainey’s taunt to societal authorities. In the context of her 1925 arrest, this line takes on additional resonance, suggesting that while the law may surveil and judge, it cannot ultimately define her.

  • Verse 4

    In this final verse, Rainey solidifies her alignment with the masculine-coded behaviors of the B*** aesthetic, describing herself as dressing and acting with the confidence of a man. The phrase “just like any old man” normalizes her queerness, challenging the notion that gender and sexuality must adhere to societal expectations. This normalization is revolutionary, as it not only asserts her autonomy but also invites listeners to reconsider their assumptions about gender roles and desire.
    The imagery of “clothes just like a fan” suggests performance and spectacle, tying Rainey’s personal identity to her role as an entertainer. Rainey’s public persona was deeply intertwined with her music, allowing her to use her art as a platform for resistance. This duality—between the personal and the performative—underscores the transformative power of blues as a medium for queer expression. The repeated refrain “sure got to prove it on me” serves as Rainey’s closing challenge, a final declaration of defiance that leaves no room for doubt about her pride and resilience.
An advertisement for "Prove It on Me Blues," published in the Chicago Defender, September 22, 1928.