Jazz is known for it's musical humor and satire, it only makes since that humor and satire would be present in lyrics written to and for jazz as a tool that enhances protest. Last Nia blog we looked at protest without lyrics this week let's look at the spoken word traveling from in front of the music to melody without music to pure spoken word. Oscar Brown, Jr., runs the gamut.
Oscar Brown, Jr (October 10, 1926 – May 29, 2005) was an American singer, songwriter, playwright, poet, and civil rights activist who created lyrics for jazz protest and whose lyrics easily crossed over into the realm of poetry and spoken word. Here is Oscar Brown Jr.'s "Forty Acres and a Mule" music and lyrics. As you will see it is not about reparations but face value broken promises observed from street level. Notice how the spoken word comes down and dances around a tight driving 4/4 cymbal and upright bass with a 2/4 rim shot:

Here is an interesting counter point to "Forty Acres and Mules," spoken word jazz with jazz great Oscar Brown on Def Poetry Jam more or less singing spoken word without any music in "I Apologize" but laying down a much tighter meter (4/4 maybe?):

Here is a show tune by Rodgers and Hammerstein that floated by unscathed until it got to ... not Mississippi but Georgia. Quoting Rene Marie in an article last August in Jazz Times,

Who woulda thunk that this lovely song written by Rodgers and Hammerstein about racial prejudice could be snuck into South Pacific? Rodgers and Hammerstein were repeatedly pressured to remove the song from the musical, with lawmakers in Georgia actually going so far as to introduce legislation that would make illegal the performance of any creative works with ideas that stemmed from “Communist” thinking. According to James Michener (author of the book that inspired the musical), “The authors replied stubbornly that this number represented why they wanted to do the play in the first place. … [E]ven if it meant the failure of the production, it was going to stay in.”