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4. Say I Do It

Sloppy Henry

[Verse 1]Mose and Pete lived on Greenwillow Street in northwest BaltimorePete 'run with Mose, 'cause he powdered his nose, and even wore ladies hoseTwo could be seen running hand in hand, in all kinds of weather'Til the neighbors, they began to signify, 'bout the birds that flock together
[Bridge]Mose, he began to sigh, Pete yelled out his reply:
[Chorus]'Say I do it, ain't nobody seen meThey sure got to prove it by meCan't identify a man with a cover over his headWhen a crab is cooked, he's bound to turn redIt's true I use a powder puff and has a shiny faceI wears a red necktie 'cause I think it suits my tasteI know my voice is tenor, I reduce myself with laceAnd when you see me with the gang you'll find me singing bassThey say I do it, ain't nobody seed meThey sure got to prove it 'bout me!'
Listen!
[Verse 2]Your husband is the doctor man that told Miss Liza LeeThey's got me a cottage out in the country by the seaTurkey's 'bout to recommend my breakfast in my bedMake sure that I will get it, he left a check insteadThey say I done it, ain't nobody seed meThey sure got to prove it 'bout me
[Chorus]'Say I do it, ain't nobody seed meThey sure got to prove it by meCan't identify a man, cover on his headCrab is cooked, he's bound to turn redIt's true I use a powder puff and has a shiny faceI wears a red necktie 'cause I think it suits my tasteThey say I done it, ain't nobody seed meThey sure got to prove it 'bout me!'

  • Verse 1

    The song opens by introducing Mose and Pete, a queer couple whose unconventional lifestyle sparks the curiosity and judgment of their neighbors. The reference to Pete “powdering his nose” and wearing “ladies’ hose” (or pantyhose) foregrounds his gender nonconformity, signaling a rejection of traditional masculinity. These details challenge the heteronormative expectations of the 1920s, where cross-dressing and queer behaviors were stigmatized and criminalized.
    The line “two could be seen running hand in hand” depicts a sense of intimacy and affection that defies societal norms. This portrayal of an openly affectionate male couple was revolutionary for its time, especially within the blues genre, which, while often sexually explicit, rarely explored male homosexuality. The neighbors’ reaction—“they began to signify”—highlights how society polices and mocks queerness, using ridicule to enforce conformity. Sloppy Henry sets the stage for a bold and humorous retort to these accusations, framing Pete as unapologetically himself.

  • Chorus

    Pete’s retort is layered with humor, defiance, and coded confessions. The repeated line “Say I do it, ain’t nobody seen me” is a clever inversion of societal surveillance. By asserting that no one has witnessed his alleged actions, Pete both denies and implicitly confirms the accusations. The phrase “seed me” (dialect for “seen me”) underlines this playful paradox: no one could “see” him because his queerness is hidden beneath societal assumptions, much like the “cover over his head.”
    The metaphor “when a crab is cooked, he’s bound to turn red” adds another layer, suggesting that judgment and shame are inevitable in a world that polices difference. Pete’s embrace of feminine-coded items like a “powder puff” and lace highlights his gender nonconformity, but rather than framing these details as sources of shame, he claims them with pride. The juxtaposition of his tenor voice and ability to sing bass suggests fluidity in both gender and role, challenging binary notions of masculinity and femininity. Pete’s flamboyant self-expression becomes a quiet act of rebellion, asserting individuality in the face of societal constraints.

  • Verse 2

    This verse shifts to a new layer of subtext, introducing a wealthy benefactor—possibly Miss Liza Lee’s husband—who provides Pete with material comforts, including a seaside cottage and luxurious meals. The dynamic hints at queer relationships that transcended class boundaries, where affluent men discreetly supported male partners or lovers. Pete’s explicit mention of receiving financial support—“he left a check instead”—pushes back against the heteronormative ideal of dependence on a woman or traditional family structure. This lyric subtly critiques the hypocrisy of those who judge Pete while ignoring the queerness in their own circles.
    The line “ain’t nobody seed me” reappears, this time underscoring Pete’s ability to exist in plain sight yet remain unseen in terms of his true identity. This paradox mirrors the survival strategies of queer individuals in the 1920s, who often led double lives to navigate societal expectations. Pete’s declaration defies these norms by reframing his visibility as power: though others speculate, he controls the narrative.


Themes Across Songs

In both Ma Rainey’s "Prove It On Me Blues" and Sloppy Henry’s "Say I Do It," clothing emerges as a powerful symbol of defiance against societal norms, particularly those surrounding gender and sexuality. Rainey’s embrace of traditionally masculine attire—a collar and tie—parallels Henry’s description of pairing a “red necktie” with “lace,” blending and challenging gendered expectations through their aesthetic choices. These sartorial details act as bold expressions of individuality, subverting rigid binaries and positioning clothing as a visible statement of resistance. The recurring line "sure got to prove it on me" in Rainey’s song and the similarly worded “they sure got to prove it 'bout me” in Henry’s lyrics amplify this defiance, shifting the burden of proof onto accusers and enabling the speakers to maintain control over their identities.