Ethel Waters (October 31, 1896 – September 1, 1977) was an American blues, … Read Full Bio ↴Ethel Waters (October 31, 1896 – September 1, 1977) was an American blues, jazz and gospel vocalist and actress. She frequently performed jazz, big band, and pop music, on the Broadway stage and in concerts, although she began her career in the 1920s singing blues.
Her best-known recordings include "Dinah," "Stormy Weather," "Taking a Chance on Love," "Heat Wave," "Supper Time," "Am I Blue?" and "Cabin in the Sky," as well as her version of the spiritual "His Eye Is on the Sparrow." Waters was the second African American, after Hattie McDaniel, to be nominated for an Academy Award. She is also the first African American woman to be nominated for an Emmy Award, in 1962.
Ethel Waters was born in Chester, Pennsylvania, on October 31, 1896, as a result of the rape of her teenaged mother, Louise Anderson (believed to have been thirteen years old at the time, although some sources indicate she may have been slightly older), by John Waters, a pianist and family acquaintance from a mixed-race middle-class background. Waters played no role in raising Ethel. Ethel Waters was raised in poverty and never lived in the same place for more than 15 months. She said of her difficult childhood, "I never was a child. I never was cuddled, or liked, or understood by my family."
Waters grew tall, standing 5'9½" in her teens. According to women-in-jazz historian and archivist Rosetta Reitz, Waters' birth in the North and her peripatetic life exposed her to many cultures.
Waters married at the age of 13, but soon left her abusive husband and became a maid in a Philadelphia hotel working for $4.75 per week. On her 17th birthday, she attended a costume party at a nightclub on Juniper Street. She was persuaded to sing two songs, and impressed the audience so much that she was offered professional work at the Lincoln Theatre in Baltimore, MD. She later recalled that she earned the rich sum of ten dollars a week, but her managers cheated her out of the tips her admirers threw on the stage.
After her start in Baltimore, Waters toured on the black vaudeville circuit. As she described it later, "I used to work from nine until unconscious." Despite her early success, she fell on hard times and joined a carnival, traveling in freight cars along the carnival circuit and eventually reaching Chicago. Waters enjoyed her time with the carnival and recalled, "the roustabouts and the concessionaires were the kind of people I'd grown up with, rough, tough, full of larceny towards strangers, but sentimental and loyal to their friends and co-workers." She did not last long with them, though, and soon headed south to Atlanta, where she worked in the same club with Bessie Smith. Smith demanded that Waters not compete in singing blues opposite her. Waters conceded and sang ballads and popular songs. Around 1919, Waters moved to Harlem and there became a celebrity performer in the Harlem Renaissance during the 1920s.
Waters obtained her first Harlem job at Edmond's Cellar, a club that had a black patronage. She specialized in popular ballads and became an actress in a blackface comedy called Hello 1919. Jazz historian Rosetta Reitz points out that by the time Waters returned to Harlem in 1921, women blues singers were among the most powerful entertainers in the country. In 1921, Waters became the fifth black woman to make a record, on the tiny Cardinal Records label. She later joined Black Swan Records, where Fletcher Henderson was her accompanist. Waters later commented that Henderson tended to perform in a more classical style than she would prefer, often lacking "the damn-it-to-hell bass."
She recorded with Black Swan from 1921 through 1923. In early 1924, Paramount bought the Black Swan label, and she stayed with Paramount through that year. Waters first recorded for Columbia Records in 1925, achieving a hit with her voicing of "Dinah", which was voted a Grammy Hall of Fame Award in 1998. Soon after, she started working with Pearl Wright, and together they toured in the South. In 1924, Waters played at the Plantation Club on Broadway. She also toured with the Black Swan Dance Masters. With Earl Dancer, she joined what was called the "white time" Keith Vaudeville Circuit, a traditional white-audience based vaudeville circuit combined with screenings of silent movies. They received rave reviews in Chicago and earned the unheard of salary of US$1,250 in 1928. In 1929, Waters and Pearl Wright arranged the unreleased Harry Akst song "Am I Blue?," which then appeared in the movie On with the Show and became a hit and her signature tune.
Although she was considered a blues singer during the pre-1925 period, Waters belonged to the vaudeville style of Mamie Smith, Viola McCoy, and Lucille Hegamin. While with Columbia, she introduced many popular standards including "Dinah," "Heebie Jeebies," "Sweet Georgia Brown," "Someday, Sweetheart," "Am I Blue?" and "(What Did I Do To Be So) Black and Blue" on the popular series, while she continued to sing blues (like "West End Blues," "Organ Grinder Blues," etc.) on Columbia's 14000 race series. During the 1920s, Waters performed and was recorded with the ensembles of Will Marion Cook and Lovie Austin. As her career continued, she evolved toward being a blues and Broadway singer, performing with artists such as Duke Ellington. She remained with Columbia through 1931. She then signed with Brunswick in 1932 and remained until 1933 when she went back to Columbia. She signed with Decca in late 1934 for only two sessions, as well as a single session in early 1938. She recorded for the specialty label "Liberty Music Shops" in 1935 and again in 1940. Between 1938 and 1939, she recorded for Bluebird.
In 1933, Waters made a satirical all-black film entitled Rufus Jones for President, which featured then-child performer Sammy Davis Jr. as Rufus Jones. She went on to star at the Cotton Club, where, according to her autobiography, she "sang 'Stormy Weather' from the depths of the private hell in which I was being crushed and suffocated." She had a featured role in the wildly successful Irving Berlin Broadway musical revue As Thousands Cheer in 1933, where she was the first black woman in an otherwise white show. She had three gigs at this point; in addition to the show, she starred in a national radio program and continued to work in nightclubs. She was the highest paid performer on Broadway at that time. MGM hired Lena Horne as the ingenue in the all-Black musical Cabin in the Sky, and Waters starred as Petunia in 1942, reprising her stage role of 1940. The film, directed by Vincente Minnelli, was a success.
She began to work with Fletcher Henderson again in the late 1940s. She was nominated for a Best Supporting Actress Academy Award in 1949 for the film Pinky, under the direction of Elia Kazan, after original director, John Ford, quit, due to his disagreements with Waters. According to producer Daryl Zanuck, Ford "hated that old...woman (Waters)." Ford, Karzan stated, "Didn't know how to reach Ethel Waters." Kazan later referred to Water's "Truly odd combination of old-time religiosity and free-flowing hatred.". In 1950, she won the New York Drama Critics Circle Award for her performance opposite Julie Harris in the play The Member of the Wedding. Waters and Harris repeated their roles in the 1952 film version of Member of the Wedding'' In 1950, Waters starred in the television series Beulah, but quit after complaining that the scripts' portrayal of blacks was "degrading." She later guest starred in 1957 and 1959 on NBC's The Ford Show, Starring Tennessee Ernie Ford. In the 1957 episode, she sang "Cabin in the Sky."
Despite these successes, her brilliant career was fading. She lost tens of thousands in jewelry and cash in a robbery, and had difficulties with the IRS. Her health suffered, and she worked only sporadically in following years. In 1950-51 she wrote the autobiography His Eye is on the Sparrow with Charles Samuels, in which she wrote candidly about her life. She explains why her age has often been misstated: her mother had had to sign a paper claiming Waters was four years older than she was, and that she was born in 1896. His Eye is on the Sparrow was adapted for a stage production in which she was portrayed by Ernestine Jackson. In her second autobiography, To Me, It's Wonderful, Waters states that she was born in 1900. Rosetta Reitz called Waters "a natural ... Her songs are enriching, nourishing. You will want to play them over and over again, idling in their warmth and swing. Though many of them are more than 50 years old, the music and the feeling are still there."
Waters is the great-aunt of singer-songwriter Crystal Waters. Waters often toured with Billy Graham on his crusades. She died on September 1, 1977, aged 80, from uterine cancer, kidney failure, and other ailments in Chatsworth, California.
Recordings of Ethel Waters were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."
Her best-known recordings include "Dinah," "Stormy Weather," "Taking a Chance on Love," "Heat Wave," "Supper Time," "Am I Blue?" and "Cabin in the Sky," as well as her version of the spiritual "His Eye Is on the Sparrow." Waters was the second African American, after Hattie McDaniel, to be nominated for an Academy Award. She is also the first African American woman to be nominated for an Emmy Award, in 1962.
Ethel Waters was born in Chester, Pennsylvania, on October 31, 1896, as a result of the rape of her teenaged mother, Louise Anderson (believed to have been thirteen years old at the time, although some sources indicate she may have been slightly older), by John Waters, a pianist and family acquaintance from a mixed-race middle-class background. Waters played no role in raising Ethel. Ethel Waters was raised in poverty and never lived in the same place for more than 15 months. She said of her difficult childhood, "I never was a child. I never was cuddled, or liked, or understood by my family."
Waters grew tall, standing 5'9½" in her teens. According to women-in-jazz historian and archivist Rosetta Reitz, Waters' birth in the North and her peripatetic life exposed her to many cultures.
Waters married at the age of 13, but soon left her abusive husband and became a maid in a Philadelphia hotel working for $4.75 per week. On her 17th birthday, she attended a costume party at a nightclub on Juniper Street. She was persuaded to sing two songs, and impressed the audience so much that she was offered professional work at the Lincoln Theatre in Baltimore, MD. She later recalled that she earned the rich sum of ten dollars a week, but her managers cheated her out of the tips her admirers threw on the stage.
After her start in Baltimore, Waters toured on the black vaudeville circuit. As she described it later, "I used to work from nine until unconscious." Despite her early success, she fell on hard times and joined a carnival, traveling in freight cars along the carnival circuit and eventually reaching Chicago. Waters enjoyed her time with the carnival and recalled, "the roustabouts and the concessionaires were the kind of people I'd grown up with, rough, tough, full of larceny towards strangers, but sentimental and loyal to their friends and co-workers." She did not last long with them, though, and soon headed south to Atlanta, where she worked in the same club with Bessie Smith. Smith demanded that Waters not compete in singing blues opposite her. Waters conceded and sang ballads and popular songs. Around 1919, Waters moved to Harlem and there became a celebrity performer in the Harlem Renaissance during the 1920s.
Waters obtained her first Harlem job at Edmond's Cellar, a club that had a black patronage. She specialized in popular ballads and became an actress in a blackface comedy called Hello 1919. Jazz historian Rosetta Reitz points out that by the time Waters returned to Harlem in 1921, women blues singers were among the most powerful entertainers in the country. In 1921, Waters became the fifth black woman to make a record, on the tiny Cardinal Records label. She later joined Black Swan Records, where Fletcher Henderson was her accompanist. Waters later commented that Henderson tended to perform in a more classical style than she would prefer, often lacking "the damn-it-to-hell bass."
She recorded with Black Swan from 1921 through 1923. In early 1924, Paramount bought the Black Swan label, and she stayed with Paramount through that year. Waters first recorded for Columbia Records in 1925, achieving a hit with her voicing of "Dinah", which was voted a Grammy Hall of Fame Award in 1998. Soon after, she started working with Pearl Wright, and together they toured in the South. In 1924, Waters played at the Plantation Club on Broadway. She also toured with the Black Swan Dance Masters. With Earl Dancer, she joined what was called the "white time" Keith Vaudeville Circuit, a traditional white-audience based vaudeville circuit combined with screenings of silent movies. They received rave reviews in Chicago and earned the unheard of salary of US$1,250 in 1928. In 1929, Waters and Pearl Wright arranged the unreleased Harry Akst song "Am I Blue?," which then appeared in the movie On with the Show and became a hit and her signature tune.
Although she was considered a blues singer during the pre-1925 period, Waters belonged to the vaudeville style of Mamie Smith, Viola McCoy, and Lucille Hegamin. While with Columbia, she introduced many popular standards including "Dinah," "Heebie Jeebies," "Sweet Georgia Brown," "Someday, Sweetheart," "Am I Blue?" and "(What Did I Do To Be So) Black and Blue" on the popular series, while she continued to sing blues (like "West End Blues," "Organ Grinder Blues," etc.) on Columbia's 14000 race series. During the 1920s, Waters performed and was recorded with the ensembles of Will Marion Cook and Lovie Austin. As her career continued, she evolved toward being a blues and Broadway singer, performing with artists such as Duke Ellington. She remained with Columbia through 1931. She then signed with Brunswick in 1932 and remained until 1933 when she went back to Columbia. She signed with Decca in late 1934 for only two sessions, as well as a single session in early 1938. She recorded for the specialty label "Liberty Music Shops" in 1935 and again in 1940. Between 1938 and 1939, she recorded for Bluebird.
In 1933, Waters made a satirical all-black film entitled Rufus Jones for President, which featured then-child performer Sammy Davis Jr. as Rufus Jones. She went on to star at the Cotton Club, where, according to her autobiography, she "sang 'Stormy Weather' from the depths of the private hell in which I was being crushed and suffocated." She had a featured role in the wildly successful Irving Berlin Broadway musical revue As Thousands Cheer in 1933, where she was the first black woman in an otherwise white show. She had three gigs at this point; in addition to the show, she starred in a national radio program and continued to work in nightclubs. She was the highest paid performer on Broadway at that time. MGM hired Lena Horne as the ingenue in the all-Black musical Cabin in the Sky, and Waters starred as Petunia in 1942, reprising her stage role of 1940. The film, directed by Vincente Minnelli, was a success.
She began to work with Fletcher Henderson again in the late 1940s. She was nominated for a Best Supporting Actress Academy Award in 1949 for the film Pinky, under the direction of Elia Kazan, after original director, John Ford, quit, due to his disagreements with Waters. According to producer Daryl Zanuck, Ford "hated that old...woman (Waters)." Ford, Karzan stated, "Didn't know how to reach Ethel Waters." Kazan later referred to Water's "Truly odd combination of old-time religiosity and free-flowing hatred.". In 1950, she won the New York Drama Critics Circle Award for her performance opposite Julie Harris in the play The Member of the Wedding. Waters and Harris repeated their roles in the 1952 film version of Member of the Wedding'' In 1950, Waters starred in the television series Beulah, but quit after complaining that the scripts' portrayal of blacks was "degrading." She later guest starred in 1957 and 1959 on NBC's The Ford Show, Starring Tennessee Ernie Ford. In the 1957 episode, she sang "Cabin in the Sky."
Despite these successes, her brilliant career was fading. She lost tens of thousands in jewelry and cash in a robbery, and had difficulties with the IRS. Her health suffered, and she worked only sporadically in following years. In 1950-51 she wrote the autobiography His Eye is on the Sparrow with Charles Samuels, in which she wrote candidly about her life. She explains why her age has often been misstated: her mother had had to sign a paper claiming Waters was four years older than she was, and that she was born in 1896. His Eye is on the Sparrow was adapted for a stage production in which she was portrayed by Ernestine Jackson. In her second autobiography, To Me, It's Wonderful, Waters states that she was born in 1900. Rosetta Reitz called Waters "a natural ... Her songs are enriching, nourishing. You will want to play them over and over again, idling in their warmth and swing. Though many of them are more than 50 years old, the music and the feeling are still there."
Waters is the great-aunt of singer-songwriter Crystal Waters. Waters often toured with Billy Graham on his crusades. She died on September 1, 1977, aged 80, from uterine cancer, kidney failure, and other ailments in Chatsworth, California.
Recordings of Ethel Waters were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."
Memories Of You
Ethel Waters Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Waking skies
At Sunrise,
Every sunset too,
Seems to be
Bringing me
Memories of you.
Here and there,
Everywhere,
Scenes that we once knew,
And they all
Just recall
Memories of you.
How I wish I could forget
Those happy yesteryears
That have left a rosary of tears.
Your face beams
In my dreams,
Spite of all I do!
Everything
Seems to bring
Memories of you.
How I wish I could forget
Those happy yesteryears
That have left a rosary of tears.
Your face beams
In my dreams,
Spite of all I do!
Everything
Seems to bring
Memories,
All those memories of you.
At Sunrise,
Every sunset too,
Seems to be
Bringing me
Memories of you.
Here and there,
Scenes that we once knew,
And they all
Just recall
Memories of you.
How I wish I could forget
Those happy yesteryears
That have left a rosary of tears.
Your face beams
In my dreams,
Spite of all I do!
Everything
Seems to bring
Memories of you.
How I wish I could forget
Those happy yesteryears
That have left a rosary of tears.
Your face beams
In my dreams,
Spite of all I do!
Everything
Seems to bring
Memories,
All those memories of you.
The song "Memories of You" by Ethel Waters is a poignant reflection on the memories of a past love that keep haunting her even years later. The opening lines "Waking skies, At Sunrise, Every sunset too" convey the idea that no matter what time of day it is, memories of that special someone continue to surface. The use of the word "bringing" suggests that these memories are not always welcome or invited, but rather they invade the singer's consciousness without warning or permission. The repetition of the phrase "Memories of you" further underlines the inescapability of these remembrances.
Throughout the song, the singer describes how various sights and scenes stir up memories of the past relationship. The use of the word "recall" suggests that these memories are not always pleasant, however. The lyrics "How I wish I could forget, Those happy yesteryears, That have left a rosary of tears" illustrates the pain and sorrow that are also triggered along with the happy memories. The final verse "Your face beams in my dreams, Spite of all I do!" shows the depth of the singer's longing and yearning for that lost love.
Overall, the song is a bittersweet tribute to lost love and the lingering effects of memories.
Line by Line Meaning
Waking skies
The sky at dawn reminds me of you.
At Sunrise,
Even the sunrise reminds me of you.
Every sunset too,
And every sunset also brings back memories of you.
Seems to be
It feels like the memories of you are everywhere.
Bringing me
And they always bring me back to you.
Memories of you.
All I can remember is you.
Here and there,
No matter where I go,
Everywhere,
Or what I do,
Scenes that we once knew,
I see places that we used to visit together,
And they all
And each of these places
Just recall
Can only remind me of
Memories of you.
Those memories of you again.
How I wish I could forget
I wish I could just erase
Those happy yesteryears
All the good times we had
That have left a rosary of tears.
Which now only bring me sadness.
Your face beams
Your face fills me with happiness
In my dreams,
Even in my dreams
Spite of all I do!
No matter how hard I try!
Everything
Every little thing
Seems to bring
Can trigger the same memories and emotions
Memories of you.
The same memories of you that I can't escape.
All those memories of you.
All the memories of you that I wish I could forget, but can't.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Jim Yester
Lyrics Licensed & Provided by LyricFind
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Jay Young
I so wish I had been born earlier so as to fully enjoy this period in American music!
Gary Morris
What a voice, what style she had!
Julie Holtzman
But what's with the Accent -- rolled r's ...! ?
1928jazz
Wonderful Ethel Waters backed by the Ben Selvin Orchestra in 1930.
Jay Young
She was a giant in music, segregation notwithstanding. Water, after all, seeks in level whatever the circumstance.
preservationhall01
Thanks so much, as you probably know, I love "Mama Stringbean" and I have several "Ethel" films on my channel. Had never heard this song however.
Thomas Gizzi
awesome song nothin like these old songs
George Hewett
Love the song and her voice. Just my view by I kind of thought the rolling R's distracted me from her voice and the melody. Would like to hear a different rendition without them.
Graham LAWS
Makes me wanna cry.
Julie Holtzman
Love her, but what's with the Accent -- rolled r's ...! ? p.ray tell