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."
Stormy Weather
Ethel Waters Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There's no sun up in the sky
Stormy weather
Since my man and I ain't together
Keeps raining all the time
Life is bare
Gloom and misery everywhere
Just can't get my poor old self together
I'm weary all the time
The time
So weary all the time
When he went away the blues walked in and met me
If he stays away, that old rocking chair will get me
All I do is pray the lord above will let me
Walk in that sun once more
Can't go on
All I have in life is gone
Stormy Weather
Since my man and I ain't together
Keeps raining all the time
Keeps raining all the time
I walk around heavy-hearted and sad
Night comes around and I'm still feeling bad
Rain pouring down, blinding every hope I have
It's pittering, pattering, beating, and splattering
Drives me mad
Love, love, love, love
This misery is just too much for me
Can't go on
All I have in life is gone
Stormy Weather
Since my man and I ain't together
Keeps raining all the time
Keeps raining all the time
"Stormy Weather" by Ethel Waters is a testament to the heartbreak that can ensue after a relationship ends. The song is a blues ballad that talks about the dark emotions that take over when one's partner leaves. The opening line "Don't know why there's no sun up in the sky" is the perfect metaphor for how the world seems to lose its light and vibrancy when one is heartbroken. The phrase "Stormy Weather" becomes a symbol for the turmoil going on in the singer's heart and mind. The rain that falls is a visual representation of the tears that never seem to stop.
Next, the song talks about how life becomes dull and gloomy after a lover leaves. The singer feels like they cannot get their life back on track and that they are weary all the time. This feeling is compounded by the fact that there is no one to share life with. The line "If he stays away, that old rocking chair will get me" is a haunting one that shows how lonely the singer feels. They do not want to be alone, and they fear that they will be left to contemplate their loneliness in an empty room.
As the song progresses, the lyrics become more and more desperate. The singer reveals that they are heavy-hearted and sad and that the rain is blinding any hope they may have. The rain is not just symbolic of tears but also an indicator of how the world seems to be going under. The stormy weather that was introduced at the beginning of the song now threatens to overwhelm everything. Overall, the song is a heartbreaking testament to the dark emotions that follow the end of a relationship.
Line by Line Meaning
Don't know why
I am unsure why this is happening.
There's no sun up in the sky
The sky is dark and gloomy without any sunshine.
Stormy weather
The current situation is tumultuous and chaotic.
Since my man and I ain't together
The situation is worsened by my partner's absence.
Keeps raining all the time
The unpleasantness of the situation persists and intensifies.
Life is bare
My life is empty and without meaning.
Gloom and misery everywhere
The pervading atmosphere is one of sadness and despair.
Just can't get my poor old self together
I cannot find any sense of calm or resolution.
I'm weary all the time
I am constantly exhausted and fatigued.
The time
This has been ongoing for a long period of time.
So weary all the time
I feel overwhelmingly drained and lose all my energy.
When he went away the blues walked in and met me
The departure of my partner led to deep sadness.
If he stays away, that old rocking chair will get me
If my partner does not return, I will be overtaken by loneliness and despair.
All I do is pray the lord above will let me
I plead with a higher power to help me through this struggle.
Walk in that sun once more
To feel the warmth of happiness and positivity again.
Can't go on
I am unable to continue living like this.
All I have in life is gone
I have lost everything that was important to me.
Night comes around and I'm still feeling bad
My sadness and despair extend into the night.
Rain pouring down, blinding every hope I have
The literal rain is symbolic of how the situation washes away any glimmer of hope.
It's pittering, pattering, beating, and splattering
The rain is loud and overwhelming, adding to my distress.
Drives me mad
I feel like I am losing my mind because of the intensity of the situation.
Love, love, love, love
My love for my partner is at the center of everything I am feeling.
This misery is just too much for me
I am unable to bear the immense pain and anguish I am experiencing.
Lyrics © S.A. MUSIC, Warner Chappell Music, Inc.
Written by: Harold Arlen, Ted Koehler
Lyrics Licensed & Provided by LyricFind
@giuliocampus8523
Don't know why
There's no sun up in the sky
Stormy weather
Since my man and I ain't together
Keeps rainin' all the time
Life is bare
Gloom and misery everywhere
Stormy weather
Just can't get my poor self together
I'm weary all the time, the time
So weary all the time
When he went away, the blues walked in and met me
If he stays away, old rocking chair will get me
All I do is pray the Lord above will let me
Walk in the sun once more
Can't go on
All I have in life is gone
Stormy weather
Since my man and I ain't together
Keeps rainin' all the time
Keeps rainin' all the time
I walk around, heavy-hearted and sad
Night comes around, I'm still feelin' bad
Rain pourin' down, blindin' every hope I had
This pitterin', patterin', beatin' and spatterin' drives me mad
Love, love, love, love
This misery is just too much for me
Can't go on
Everything I had is gone
Stormy weather
Since my man and I ain't together
Keeps rainin' all the time
Keeps rainin' all the time
@AmeisterAmerica
Happy early 87th Birthday Captain Turchan aka Grandpa T!
(This song was #1 on your Birthday and regardless of who sung it first, you’re #1 in my book and my favorite grandfather of all-time.)
Seriously, thanks for your sacrifice and I love you beyond words.
Please stay safe and sane and I’ll be seeing/saluting you..🙏✌️❤️😎
Respectfully yours;
-Ainsley Erin Schultz
#AmeisterAmericaINC🇺🇸
@cookieceo3938
Nobody sings this song like her. Wonderful!!!!!
@paulorobertocunhagomes
Que voz linda! Maravilhosa cantora.
@greeneyesmexico
Who in their right mind could give thumbs down to this amazing rendition? It's probably not my fave...but historic. Thanks for uploading....
@UBetrBringUrsWenUCome2TakeMine
Its no rendition it's the original version of the original lyrics performed by the original performer & it's by far my favorite version & yes it could very well be that a large part of that love is due to it being me hearing words being spoken from a date in 1933 but beyond that it's just perfectly perfect all around!!! Also, anyone who's not been lobotomized and/or didn't accidentally hit the thumbs down button who legitimately chose to vote negatively on this video/song is beyond absolutely absurdly asinine & manically insane!!! HANDS DOWN!!! 💯🤝🫡
@herveamiotphotographyvideo4817
Was driving my campervan back from under the tree to the front of the house after we had a hell of a storm (garage overflowed, living room window blew open...), sun was reappearing. There was some jazz playing low volume on the radio, I turned it up right when she says "rain pouring down" and then came "stormy weather". Truly felt like being in the middle of a movie for a minute. It put a smile on my face, in the stormy life I'm having at the moment. Great song 💜
@jarronmangunsong8469
You can truly hear and feel her emotions in this song. Especially in the end.
@medussa629
The original and so wonderful, I love listening to Ethel Waters!
@garymorris9571
Nine times out of ten, I'll take Ethel's version of anything.
@chocolatesouljah
Same here. Simple.. Stately. Beautifully interpreted.
@UBetrBringUrsWenUCome2TakeMine
I almost agree, but the only thing I'd change is I'd say UNDOUBTEDLY it's a 10/10 for myself personally!!! 💯🤝🫡