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."
No Man
Ethel Waters Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
For this great big smile;
Say, I haven't been so happy
In the longest while!
Got a big load off my mind,
Here's the papers, sealed and signed;
And the judge was nice and kind,
This ends the five-year war,
I'm sweet Miss Waters once more!
I can come when I please, I can go when I please,
I can flit, fly and flutter like the birds in the trees,
Because I'm no man's mamma now!
Hey, hey!
I can say what I like, I can do what I like,
I'm a gal who is on a matrimonial strike;
Which means, I'm no man's mamma now!
I'm screamin', "There, I know how
A fella feels gettin' out of jail,"
I've got twin beds,
But I take pleasure in announcin' one's for sale!
Am I makin' it plain? I will never again
Drag around another ball and chain!
I'm through,
Because, I'm no man's mamma now!
I can smile, I can wink, I can go take a drink,
And I don't have to worry what my hubby will think!
Because, I'm no man's mamma now!
Get it fixed!
I can spend if I choose, I can play and sing the blues,
There's nobody messing with my ones and my twos,
Because, I'm no man's mamma now!
You know that there was a time
I used to think that men were grand,
But no more for mine,
I've gone and labeled my apartment
"No Man's Land!"
I got rid of my cat, 'cause my cat's name was Pat,
Won't even have a mailbox in my flat!
Because, I'm no man's mamma now
The song "No Man's Mamma" by Ethel Waters is about a woman who has just gotten a divorce and is expressing her newfound sense of freedom. She sings about how happy and relieved she feels now that she is no longer tied down in a relationship. The lyrics contain a lot of references to the restrictions and compromises she used to have to make as a wife, such as not being able to say or do what she likes, or having to worry about what her husband will think of her actions. She also mentions getting rid of her cat and declaring her apartment a "No Man's Land", indicating a complete break from her past life.
Line by Line Meaning
You may wonder what's the reason
I'm happy and you may want to know why
For this great big smile;
I'm very happy
Say, I haven't been so happy
I haven't been this happy
In the longest while!
In a long time
Got a big load off my mind,
I've had a lot on my mind and now it's all gone
Here's the papers, sealed and signed;
Here are the papers that have been signed and sealed
And the judge was nice and kind,
The judge was kind and nice to me
All through the trial.
Throughout the trial process
This ends the five-year war,
This ends the five-year fight
I'm sweet Miss Waters once more!
I'm Ethel Waters again and I feel great
I can come when I please, I can go when I please,
I can come and go as I please
I can flit, fly and flutter like the birds in the trees,
I can move around and enjoy life like the birds in the trees
Because I'm no man's mamma now!
I'm not anyone's mother anymore
Hey, hey!
I'm excited and happy
I can say what I like, I can do what I like,
I can say and do whatever I want
I'm a gal who is on a matrimonial strike;
I'm not interested in getting married
Which means, I'm no man's mamma now!
That means I'm not anyone's mother anymore
I'm screamin', "There, I know how
I'm exclaiming...
A fella feels gettin' out of jail,"
I know how good it feels to be free
I've got twin beds,
I have two beds
But I take pleasure in announcin' one's for sale!
I'm happy to announce that one of them is for sale
Am I makin' it plain? I will never again
Do you understand? I will never again
Drag around another ball and chain!
I refuse to be in a burdensome relationship again
I'm through,
I'm done with it all
Because, I'm no man's mamma now!
I'm not anyone's mother anymore
I can smile, I can wink, I can go take a drink,
I can be happy, flirt, and drink if I want to
And I don't have to worry what my hubby will think!
And I don't have to worry about what my husband will think
Because, I'm no man's mamma now!
I'm not anyone's mother anymore
Get it fixed!
Do you understand?
I can spend if I choose, I can play and sing the blues,
I can spend money and sing blues music if I feel like it
There's nobody messing with my ones and my twos,
No one is messing with my finances
Because, I'm no man's mamma now!
I'm not anyone's mother anymore
You know that there was a time
There was a time when
I used to think that men were grand,
I used to think that men were great
But no more for mine,
But not anymore for me
I've gone and labeled my apartment
I labeled my apartment
"No Man's Land!"
As a place where no men are allowed
I got rid of my cat, 'cause my cat's name was Pat,
I got rid of my cat because its name was Pat
Won't even have a mailbox in my flat!
I won't even have a mailbox in my apartment
Because, I'm no man's mamma now!
I'm not anyone's mother anymore
Lyrics © Warner Chappell Music, Inc.
Written by: JACK YELLEN, LEW POLLACK
Lyrics Licensed & Provided by LyricFind
wave
You may wonder what's the reason
For this great big smile;
Say, I haven't been so happy
In the longest while!
Got a big load off my mind,
Here's the papers, sealed and signed;
And the judge was nice and kind,
All through the trial.
This ends the five-year war,
I'm sweet Miss Waters once more!
I can come when I please, I can go when I please,
I can flit, fly and flutter like the birds in the trees,
Because I'm no man's mamma now!
Hey, hey!
I can say what I like, I can do what I like,
I'm a gal who is on a matrimonial strike;
Which means, I'm no man's mamma now!
I'm screamin', "There, I know how
A fella feels gettin' out of jail,"
I've got twin beds,
But I take pleasure in announcin' one's for sale!
Am I makin' it plain? I will never again
Drag around another ball and chain!
I'm through,
Because, I'm no man's mamma now!
I can smile, I can wink, I can go take a drink,
And I don't have to worry what my hubby will think!
Because, I'm no man's mamma now!
Get it fixed!
I can spend if I choose, I can play and sing the blues,
There's nobody messing with my ones and my twos,
Because, I'm no man's mamma now!
You know that there was a time
I used to think that men were grand,
But no more for mine,
I've gone and labeled my apartment
"No Man's Land!"
I got rid of my cat, 'cause my cat's name was Pat,
Won't even have a mailbox in my flat!
Because, I'm no man's mamma now
Muffs 55mercury
Her early electrical recordings with the band the Ebony Four are so awesome !!!
Angel Debeltza
love her voice....thanks
AReal Thinking kid💡
Beautiful!!
Emma Roach
I find this kind of music fascinating.
Bon Ban
Beetle um bum sr louis rag timers
ƬЯaᴉT of sɪИN 727
That's great music. I can picture myself sitting somewhere in a cigarette smoke filled high stench of pure raw whiskey. Calls for a encore.
Muffs 55mercury
Me too. The picture is so clear. I was born years too late.
Shrink wrap
Where has this song been my entire liiiiiiife?! 💖
John Walters
I'm in Love! I would do all the cooking and cleaning and bring the paycheck home to hear that sweet voice everyday!
gelatinousglob
I love Ethel, her voice, and her lyrics, but someone cranked the pitch up wayyy to high on this one. Ethel is not a soprano, she has a much deeper voice.