Bert Williams was the most popular black comedic performer in America at the turn of the 20th century. But his celebrity grew tremendously when he put the songs from his stage show Abyssinia to disc and cylinder. That record included the piece he was best known for, “Nobody.” It’s an upbeat tune whose buoyant arrangement runs perpendicular to its melancholy message of isolation and disappointment, a device that’s since become ubiquitous. The idea at the center of “Nobody” — laughing at the self-deprecation of an unfortunate schlemiel — was what fueled its tremendous success. And having a black man as the song’s tragic protagonist added to its novelty and ultimate comedic longevity, spawning a comic genre where vulnerability and ennui weren’t taboo, but welcome subjects. Released at a time when cylinder recordings were at their apex, Williams became widely known for the song, and he was forced to sing it at essentially every appearance he made, for the rest of his life.
Bert Williams was the most popular black comedic performer in America at the turn of the 20th century. But his celebrity grew tremendously when he put the songs from his stage show Abyssinia to disc and cylinder. That record included the piece he was best known for, “Nobody.” It’s an upbeat tune whose buoyant arrangement runs perpendicular to its melancholy message of isolation and disappointment, a device that’s since become ubiquitous. The idea at the center of “Nobody” — laughing at the self-deprecation of an unfortunate schlemiel — was what fueled its tremendous success. And having a black man as the song’s tragic protagonist added to its novelty and ultimate comedic longevity, spawning a comic genre where vulnerability and ennui weren’t taboo, but welcome subjects. Released at a time when cylinder recordings were at their apex, Williams became widely known for the song, and he was forced to sing it at essentially every appearance he made, for the rest of his life.