1982 & 1983: Sweet Honey in the Rock

I have at least 10 T-shirts directly related to music, but they have different roots and take off in different directions. No surprise that my attempts to corral them into one blog post led to procrastination, so I’m going to do what a long-ago mentor advised: “chunk them down.” Here’s the first chunk.

I like to think that by 2021 everyone knows Sweet Honey in the Rock, but if you don’t, or even if you do, head on over to YouTube and cue up Sweet Honey — All Tracks. That’ll give you a great soundtrack to read this post by and go about the rest of your day.

Sweet Honey was founded in D.C. in 1973 by Dr. Bernice Johnson Reagon, a lifelong activist, cultural historian, and composer as well as Sweet Honey’s leader for three decades until she retired in 2004. (For an intro to her accomplishments, check out her Wikipedia entry and her own website.)

Just about every year I was in D.C., Sweet Honey did an anniversary concert. I went to most of them. The T-shirt on the left in the photo is from the 1983 one and the one next to it is from 1982.

I was definitely at the 1980 edition at All Souls Church, at which the Good News album was recorded. Good News, released in 1981, was Sweet Honey’s third album. The other one in the photo, B’lieve I’ll Run On . . . See What the End’s Gonna Be, was #2; it came out in 1978 on Holly Near’s Redwood label.1 I’m relieved to report that both are in remarkably good shape.

I’ve often said over the decades that I’ve learned plenty of history from music. When I was a young antiwar activist, songs from the civil rights and labor movements started conversations and gave me clues to follow up on. Decades later the songs of Stan Rogers and James Keelaghan, among others, taught me lots about Canadian history and current events that weren’t well covered south of the border. Sweet Honey’s songs often pulled people and events out of the history books or off the front pages and embedded them in mind and heart in ways that the printed page often can’t.

The songs make connections.2

Chile your waters run red through Soweto
If you heard about Chile
then you heard about Soweto . . .
     © Bernice Johnson Reagon

The sounds from the jail cells
of the Wilmington 10
Are echoes of a massacre
keeping Black freedom locked in . . .
     “Echoes,” ©Bernice Johnson Reagon

They call to action.

If you had lived with Denmark Vesey
would you take his stand . . .
If you had lived with Harriet Tubman
would you wade in the water . . .
If you had lived with Sacco & Vanzetti
would you know their names . . .
Do you hear them calling?
Are you living today?
Are you fighting today?
Do you know our names?
Do you know our names?
Do you hear our cries?
     © Bernice Johnson Reagon

That’s not all they do, of course. These albums, and Sweet Honey concerts, included love songs, songs of celebration, and songs that remind us of the generations that precede us and those that follow, like Ysaye Barnwell’s settings of “Breaths” by Birago Diop and “On Children,” lines from Kahlil Gibran’s The Prophet.

At the concert that became Good News Bernice Johnson Reagon interrupts the singing of the title song to say a few words:

It’s good news when you reject things as they are,
when you lay down the world as it is
and you take on the responsibility of shaping your own way —
that’s good news.

Everybody talk about spirituals and they say,
Oh lord, black folks singing about going to heaven!
No, this message is for you tonight November the 8th, 1980, in All Souls Church:
Lay down the world, pick up my cross
They don’t say it’s good times, they say good NEWS
It’s hard times when you decide to pick up your own cross
you gon’ catch hell if you don’t do it the way they say do it
but when you lay down the world and shoulder up your cross that’s —
GOOD NEWS
     © Bernice Johnson Reagon

I do believe I remember myself well enough from that time to suspect that this message was aimed at me — not me alone, of course, but me among the white women who looked askance at Christianity and God-talk of any kind. My antiwar years had introduced me to Christian traditions that opposed war and fought for justice, to the role of Jews in every progressive movement I ever heard of, and of course to the importance of the Black church in the civil rights movement. But feminism had given me another take on “God the Father” — hell, Mary Daly’s Gyn/Ecology had come out only two years before and I was very much under the influence.

Bernice’s words gave me a whole other take on it. Decades later, on Martha’s Vineyard, I wound up singing in a spirituals choir and learning more about the spirituals, or slave songs. Many of them had double meanings, one for the white masters, one for the Black enslaved people. They were songs of survival and, often, resistance.

Kimberlé Crenshaw, lawyer, scholar, and activist, coined the term “intersectionality” in 1989.3 It refers to the way that the various aspects of our individual identities — race, sex, class, age, sexuality, etc. — intersect synergistically. These days, I have a hard time explaining to people how intersectional grassroots feminism was in the 1970s and ’80s. Listening to the songs on B’lieve I’ll Run On and Good News gets the point across better than I can, and it takes less time than locating and reading the anthologies that broadened and deepened our understanding of how some of those aspects intersect.

From “Every Woman”:

Every woman who ever loved a woman
You oughta stand up and call her name:
Mama — Sister — Daughter — Lover
     © Bernice Johnson Reagon

Mama, sister, daughter, lover.4 This song was recorded, and being sung in concert, in 1978, people. Keep that in your mind and heart.

Notes

1. All the songs on Good News, and several more, are on Breaths, released in 1988 on Rounder Records. The track for “Good News” includes the Bernice rap that I quoted above, so I’m guessing the whole thing is from that concert. It’s in the iTunes store, so it’s definitely available. No such luck with B’lieve I’ll Run On. Redwood Records went out of business in the 1990s, before the digital music biz got going, but used copies of the vinyl LP and, apparently, a CD can be found by Googling.

2. The references in these two excerpts: “Chile” refers to the overthrow and death by suicide of Chilean president Salvador Allende in 1973. The military coup was supported by the CIA. “Soweto,” a township near (and now part of) Johannesburg, South Africa, refers to the uprising of Black students in June 1976 who were protesting the introduction of Afrikaans as the language of instruction in the schools. They were met by violent police repression. Official statistics set the number of dead at 176; estimates range as high as 700, and at least 4,000 were injured. The Wilmington 10 were 9 young men and 1 woman wrongfully convicted of arson and conspiracy in 1971. Their convictions were overturned in 1980, after all 10 had served almost a decade in prison. They were not retried, and they were pardoned in 2012, by which time 4 of them had died. Their case was a major rallying point through the 1970s.

3. I’m a serious fan of Kimberlé Crenshaw. Check out her African American Policy Forum. Among others things, it organizes excellent panel discussions on a variety of topics. Important podcasts too. Crenshaw helps keep the focus on Black girls and women with #SayHerName, which refuses to let the Black women killed by police be forgotten, and #BlackGirlsMatter. She’s also an early exponent of Critical Race Theory, which isn’t what Fox News thinks it is — but you already knew that, right? 😉

4. Mother, Sister, Daughter, Lover was the title of a story collection by Jan Clausen, published by Crossing Press in 1980.

The Cost of Comfort

This Washington Area Women’s Center T-shirt was created when I was no longer even tangentially involved with the center, probably after I started working at Lammas in 1981. At that point my center of gravity moved from Northwest D.C. to the southeast and northeast fringes of Capitol Hill. The old Sumner School was no longer within easy walking, biking, or even busing distance. Just as important, the written word was coming to dominate my life — editing, writing, and bookselling — and to draw me into circles and networks of similarly committed women.

This T is more sedate, easier to wear in “polite company” -‑ that is to say, non-feminist, non-lesbian company — than the first WAWC shirt. The labyris symbol is retained but discreetly: only those in the know will recognize it as the head of an ax, or understand what that ax symbolizes.

What catches my eye now is the line under the center’s name: “Creating Unity From Diversity.” Variations of this slogan have become ever more popular in the decades since. It’s conventional wisdom among feminists, liberals, and progressives. It rolls so trippingly off the tongue that we forget how difficult it is.

Part of the Women’s Center’s mission statement declared our intent “to create a space where all women could be comfortable.” My experience taught me that the achievement of this goal was, at best, a long way off. This was my epiphany:

The rap group, of which I was one of the regular leaders, attracted some regulars who came every week and occasional participants who came for the week’s topic. As with other Women’s Center activities, the majority were usually lesbians, but sometimes as many as half the participants were straight women. (Not every woman identified herself, but if someone bent over backwards to avoid giving any clues, the chances were good she wasn’t straight.) Discussions were friendly, everyone seemed comfortable, but it gradually became apparent that the comfort was conditional.

Often several of us would decide to continue the discussion elsewhere after the center closed for the night. There were several reasonably priced options within walking distance where we could get a drink, or coffee, or a bite to eat and talk. Two of them were frequented mostly by gay men but known to be friendly to women (this was not a given with establishments that catered to gay men).

A pattern emerged: When the group mind settled on one of those gay-friendly places, the straight women who’d been ready to come suddenly remembered they had other obligations, or they were just too tired to go out. When we picked one of what we thought of as neighborhood pubs or cafés, everybody went.

These “neighborhood” venues were considered neutral, but of course they weren’t. They were frequented by male-female couples and straight men. At one, the men would be gathered at the bar watching sports on TV and cheering or groaning loudly as the game progressed.

In other words, the lesbians were willing to put up with the discomfort of being in a place where heterosexuality was the norm, and the straight women weren’t willing to do likewise in a place where it wasn’t. This was not surprising, since lesbians and gay men lived most of our lives in places dominated by straight people, starting with our families; they might not be exactly comfortable, but they were certainly familiar. For the straight women, gay-friendly places were anything but.

Women’s Center volunteers talked a fair amount about how to attract more straight women to our activities, like Women’s Nite Out and the rap group and our various classes. How to make straight women more comfortable at the center. I was coming to the conclusion long since reached by some of my sister collective members: that the only way to make most straight women comfortable in a mixed lesbian-straight milieu was for the lesbians to “tone it down”: talk less about our relationships, disguise pronouns when we did, and so on. To make straight women more comfortable, we had to make ourselves less comfortable. Since our comfort options at the time were so limited, this didn’t look like a great alternative.

A few years later, in her great essay “Coalition Politics: Turning the Century” (based on a speech given at the West Coast Women’s Music Festival in 1981; in Home Girls: A Black Feminist Anthology, ed. Barbara Smith [New York: Kitchen Table: Women of Color Press, 1983]), Bernice Johnson Reagon — scholar, activist, and longtime founder-leader of the black women’s a cappella ensemble Sweet Honey in the Rock — nailed the whole matter of comfort and discomfort, extending it to encompass all the power differentials in our culture: black and white, female and male, middle class and working class, and so on and on. And especially how these categories intersect: Kimberlé Crenshaw didn’t coin the word “intersectionality” until the end of the 1980s, but feminists were already working on it, with women of color generally leading the way.

Sweet Honey did an anniversary concert every year. I attended most of the ones when I lived in town. This one has the date on it: November 19 & 20, 1982.

Reagon draws the key distinction between coalition and home: Coalition work, she says, “is some of the most dangerous work you can do. And you shouldn’t look for comfort. . . . In a coalition you have to give, and it is different from your home. You can’t stay there all the time.” We all need some sort of home, a place we can be comfortable enough to recharge before we “go back and coalesce some more.”

Diversity is more abstract than coalition, but it makes some of the same demands. Don’t expect to be comfortable all the time. Pay attention to who does expect to be comfortable, especially if it’s you, and who’s expected to “tone it down.”

This issue has never been more important. If all of us, especially the more privileged among us, aren’t willing to learn to live with some measure of discomfort, I suspect we’re all doomed.

In practice, the Women’s Center created events where all women could be comfortable as long as they were comfortable in women-only spaces. As expected, a significant majority of these women were lesbians, but not all: some identified as bisexual, some as heterosexual, and some were in transition or uncommitted. The Full Moon Cruise in 1980 was more ambitious than the usual Women’s Center event, which is why it got its own T-shirt. Women’s Nite Out happened regularly on the third floor of the Sumner School, and every so often we threw a women’s dance at All Souls Church.

All Souls, the Unitarian Universalist church at 16th and Harvard, N.W., was then as now a hotbed of culturally and politically progressive activity. It was also a stone’s throw from the Mount Pleasant neighborhood, home to multiple lesbian group houses, and easily reached by public transportation. Long before rainbow flags started flying from liberal churches and synagogues, All Souls welcomed our events, at some risk to themselves. D.C.’s human rights act, like many such laws, saw no difference between men excluding women and women excluding men, or white people excluding black people and black people excluding white people: justice may not be blind, but when it comes to power imbalances in society, it certainly is myopic.

The threat of being sued wasn’t strictly hypothetical either. Around this time, I was editing as a freelancer a bimonthly newsletter for a non-smokers’ rights group. Its principal, a George Washington University law professor, brought a sex discrimination suit against a D.C. restaurant for requiring men, but not women, to wear jackets. I had zero doubt that he and other legal eagles would thrill to bring a suit against the Women’s Center for excluding men from a dance, and against All Souls for renting us space to do it.

So we were careful. We created the fiction that these were ticketed events, and tickets had to be purchased in advance. PR was largely by word of mouth or very limited circulation media like In Our Own Write. If a man insisted on coming in, we were supposed to let them in, but I don’t recall this ever happening. What I do recall is our delight in appropriating the men’s room, where there was never a line.

Our best protection was that lesbians weren’t just invisible to the heterosexual world; we were literally unimaginable. Only a few years earlier, after all, I had gone to women’s dances at Penn without registering that most of the women there were, if not lesbians, then not exactly straight. The idea of women voluntarily excluding men from any part of our lives, and especially our events, is still problematic. But the distinction that Bernice Johnson Reagan made between home and coalition is still valid. All of us working in the rough-and-tumble wider world need places to regroup and recharge.

Tellingly, it was in this women-only, mostly lesbian world that I started paying much closer attention to the differences among us, and the other ways we were different from the wider world. We were mostly white in what was then a majority-black city, and the age range from youngest to oldest couldn’t have been more than about 15 years. Class-wise, however, we came from a variety of backgrounds, and some of us had had grueling experiences with the mental health establishment, male violence, and/or the legal system. In this women-only space, we talked about things we had never felt comfortable discussing anywhere else.


I picked up this T at a women’s conference at West Virginia U., where Lammas was selling books and records. Probably 1983 or 1984. (Maya Angelou was the keynote speaker.) We dreamed of a universal sisterhood, of “unity from diversity,” but making it happen in real time was far harder — and asked more of us — than we often wanted to acknowledge.