The Ballad of Ollie Jackson: How the Baddest Man in the St. Louis Underworld Failed to Become a Folk Hero (Eric McHenry, North American Review)
Every character Starks was singing about had been a real person, and, remarkably, part of the same small community—the St. Louis vice district of the 1890s, which must rival the Mississippi Delta of the 1930s for per-capita contributions to the American musical canon. St. Louis also boasted half a dozen thriving daily newspapers, most of which are now digitized, allowing researchers to study the events that inspired those songs and see how much of a folkloric makeover they got. The real Frankie Baker shot her abusive boyfriend once in her apartment and successfully pleaded self-defense; in the “Frankie and Johnny” song tradition she became the jilted avenger, hunting down her two-timing lover in a barroom and blasting away. Harrison Duncan went to the gallows denying that he’d shot Officer Brady in a saloon melee; in song he became an enraged bartender who’d had enough of the cops busting up his gambling operation (“Brady said, ‘Duncan, you’re under arrest.’ / Duncan shot a hole in Brady’s chest”). “Stack Lee” Shelton was a gambler who shot a man for stealing his hat; in the “Stagolee” songs he became … pretty much exactly that. He didn’t need much revision to be the “badman” people wanted to sing about. This is all consistent with a pattern that folklorists have long observed: Unlike white outlaw ballads, which tend to airbrush their historical subjects, turning murderous thieves like Jesse James and William Quantrill into righteous Robin Hood figures, Black “badman” ballads push their protagonists in the opposite direction—toward antisocial rashness and self-interest, qualities for which the songs make no apologies. (In a racist society, self-interest is its own sort of righteousness.)
Starks’s repertoire also included “Ollie Jackson”—another badman ballad that recounts, with astonishing specificity, the 1901 killing of two brothers over a craps-game dispute in St. Louis. It must have been composed immediately after the shootings by someone impressively familiar with the facts. Four decades later and four hundred miles to the south, Starks sang the correct names of the killer, both victims, two witnesses, and the owner of the saloon, as well as the intersection at which it stood, the day of the week, and the contested amount of money (seventy-five cents).
Dick Carr had the dice,
Bet six bits he’d pass.
Ollie Jackson faded him
And that was poor Dick’s last.
When you lose your money, learn to lose.It’s hard to overstate how lucky we are that Lomax recorded this performance. Of all the songs that survive from the era of Black ballad-making (roughly 1890–1910), it’s the only one that describes a real event so thoroughly and accurately, meaning that it’s probably the closest thing we have to a Black folk ballad in its original form. And that form challenges some common assumptions about Black songwriting.