The Talking Machine World, January 15, 1921, 27, accessed archive.org.
Historians of blues music and folk culture consider Mamie Smith to be the first African American woman to record blues vocals. In 1921, only a year after this historic recording, Smith performed to sold-out crowds in Indiana. Newspapers covered the release of Smith’s records and her Indiana performances extensively. We were interested especially in a spring 1921 performance by this African-American star in Richmond, Indiana, a Ku Klux Klan stronghold at the time.
Before 1920, African American entertainer Mamie Smith, who was born in Cincinnati, worked in Harlem as a chorus girl and cabaret singer. Here she met the black pianist, singer, and composer Perry Bradford who had found success in theater and minstrel circuits in New York. Bradford, who was interested in preserving African-American musical traditions in recordings, convinced Fred Hager, recording director of the obscure label OKeh Records to take a chance on recording Mamie Smith. Bradford convinced Hager that African American music lovers were an untapped market and that “they will buy records if recorded by one of their own, because we are the only folks that can sing and interpret hot jazz songs just off the griddle correctly.”
“A studio headshot portrait of American blues singer Mamie Smith,” photograph, circa, 1923, Frank Driggs Collection/Getty Images accessed “Mamie Smith and the Birth of the Blues Market,” All Things Considered, NPR.
In February 1920, Smith recorded “That Thing Called Love” and “You Can’t Keep a Good Man Down” for OKeh Records. Blues music historians consider this to be the first blues recording by an African American woman. Record producer Hager received boycott threats if he recorded Smith or any other African American singer. In the face of the controversy, Bradford convinced Hager to continue backing Smith, as opposed to the white singer Sophie Tucker, who Hager was alternatively considering. Bradford recalled:
Mr. Hager got a far-off look in his eyes and seemed somewhat worried, because of the many threatening letters he had received from some Northern and Southern pressure groups warning him not to have any truck with colored girls in the recording field. If he did, OKeh Products – phonograph machines and records – would be boycotted. May God bless Mr. Hager, for despite the many threats, it took a man with plenty of nerves and guts to buck those powerful groups and make the historical decision which would echo aroun’ the world. He pried open that old ‘prejudiced door’ for the first colored girl, Mamie Smith, so she could squeeze into the large horn – and shout with her strong contralto voice.
Smith recorded another set of songs penned by Bradford for Okeh in August of 1920. The track “Crazy Blues” became massively popular and in less than a year the record sold over a million copies. According to long-time music writer Jas Obercht, Smith’s “Crazy Blues” “could be heard coming from the open windows of virtually any black neighborhood in America.” Okeh Records called it “a surprise smash hit.” According to New Orleans jazz musician Danny Barker:
There was a great appeal amongst black people and whites who loved this blues business to buy records and buy phonographs. Every family had a phonograph in their house, specifically behind Mamie Smith’s first record.
Indiana newspapers ran ads for Mamie Smith’s records not long after the release of “Crazy Blues.” Often the ads for Smith’s records were also attempts to sell phonographs as Barker mentioned in the above quote. A downtown Indianapolis music store ran this advertisement in the Indianapolis News in November:
The C. W. Copp Music Shop ran an advertisement in the South Bend News-Times in December for the hit “Crazy Blues,” but also let an interested public know that they stocked other Mamie Smith records. Hoosier interest in Smith’s records continued into the new year. In March of 1921, the same South Bend music shop ran several advertisements for five new Smith records and the Hammond Times ran an advertisement for Okeh Records releases, featuring Smith, and to sell listeners the phonograph to play them on:
According to Obrecht, Mamie Smith recorded 22 songs this year and “between sessions, she kept a grueling schedule of concert appearances.” The Talking Machine World magazine reported that Smith and a revue of entertainers were going to perform in all the major U.S. cities. By April 1921, many Hoosier music fans were familiar with Mamie Smith, as we can see from the newspaper ads. So when the news broke that she was booked to play in Indiana, the coverage continued almost daily until the performance.
According to the Talking Machine World she performed in Indianapolis and Evansville on this tour, but a search of Hoosier State Chronicles and our recent work to digitize the Richmond Palladium Sun-Telegram shows that she also performed to sold out crowds in Richmond and South Bend. This is especially interesting considering 1920s Richmond was only about 5% African American, while perhaps as many as 45% of white males belonged at some point to Whitewater Klan #60, an active chapter of the Ku Klux Klan. We wondered, what brought Smith to Richmond and how was she received?
The Richmond Palladium and Sun-Telegram ran a notice of Smith’s Saturday, April 23, 1921 performance at the Coliseum for weeks before the date. Here are some great examples:
On April 21, 1921 alone there were three ads for Smith’s upcoming performance and records, including this extensive listing of popular songs:
Richmond Palladium and Sun Telegram, April 21, 1921. Hoosier State Chronicles.“Famous Colored Star Sings Here Saturday,” Richmond Palladium and Sun-Telegram, April 18, 1921. Hoosier State Chronicles.
Advertisements were not the only coverage of Smith’s upcoming appearance in Richmond. On April 18, 1921 the Richmond Palladium Sun-Telegram reported on the “forthcoming appearance here of Mamie Smith, the popular phonograph star of the colored race, and her All-Star Jazz Revue next Saturday night at the Coliseum,” and called it “the greatest jazz concert that has ever been sent on tour.” The newspaper called Smith “a phonograph star of the first rank” and claimed that she “has done more than any other singer perhaps in America to popularize the genuine ‘blues’ song of the day.” The writer continued to laud Smith for her ability to make songs into “living, potent things charged with a pulsing and individual rhythm.” The paper reported that the popularity of her record had made Richmond residents excited to see her perform live and that they were expecting a “sold-out house when she reaches this city.”
Jazz Revue Seats On Sale Wednesday,” Richmond Palladium and Sun-Telegram, April 18, 1921. Hoosier State Chronicles.
Perhaps the most interesting article in the Palladium was the one that appeared the following day, April 19, and covered not Smith but the revue company traveling with her. Mamie Smith and her Jazz Hounds were the headlining, crowd-drawing act, but her tour included other acts as well: dancers, vaudevillian comedians, and minstrel performers. The appearance of a newly-minted blues and jazz star on the same stage as the historically popular minstrel performers marks and intersection of trends in African American music and performance history. While minstrel performers had both conformed to stereotypes out of employment necessity and defied them through their self-presentation (learn more), Mamie Smith’s rise to stardom ushered in a new era of music divas who presented themselves as upper class, educated, rich, and demanding of respect.
Obrecht writes:
While blues music had been performed in the American South since the very beginning of the twentieth century, no one had made recordings of it before, largely due to racism and the assumption that African-Americans couldn’t – or wouldn’t – buy record players or 78s. “Crazy Blues” changed all that, sparking a mad scramble among record execs to record blues divas. The stars they promoted in this short-lived era of “classic blues” were not the down-home country singers who’d record later in the Roaring Twenties, but the glittering, glamorous, and savvy veterans of tent shows, minstrel troupes, and the vaudeville stage. These mavericks defied stereotypes…
“Colored Star Wears Exprensive Creations,” Richmond Palladium and Sun-Telegram, April 22, 1921. Hoosier State Chronicles.
As if in response to this very idea, on April 22 the Palladium followed the coverage of the revue with an article detailing the glamorous appearance and presentation of Smith. The newspaper stated that through her record royalties “the popular young colored star is enabled to indulge her fancy in the latest creations both from Paris and New York, and in each city in which she has appeared a gasp of astonishment has greeted her every appearance, for her gowns are described as riots of color and beauty.”
In a telling sentence, the article called Smith “one of the most gorgeously dressed stars of the musical comedy world.” This notes both the respect for her appearance and success and a misunderstanding of her role in music history. While African American music fans were connecting to Smith’s sincere and authentic portrayal of the blues music that they grew up with, this white Midwestern newspaper still saw her as part of the vaudeville and perhaps even minstrel genres — understandably perhaps since it was marketed as such. While Smith had come from such a tradition, through her work with the blues and and jazz performers she had transcended her past. Black newspapers understood her importance much earlier than white newspapers. On March 13, 1920, the Chicago Defender wrote:
Well, you’ve all heard the famous stars of the white race chirping their stuff on the different makes of phonograph records . . . but we have never – up to now – been able to hear one of our own ladies deliver the canned goods. Now we have the pleasure of being able to say that at last they have recognized the fact that we are here for their service; the OKeh Phonograph Company has initiated the idea by engaging the handsome, popular and capable vocalist, Mamie Gardner Smith.
Similarly, the African American gospel, jazz, and blues music Thomas A. Dorseyexplained, “Colored singing and playing artists are riding to fame and fortune with the current popular demand for ‘blues’ disk recordings and because of the recognized fact that only a Negro can do justice to the native indigo ditties such artists are in demand.”
There were African American audience members at the Richmond performance, who likely had a better understanding of the significance of Smith’s success. The Richmond PalladiumSun-Telegram reported: “The best seats are selling fast from the plat at Weisbrod Music company as white and colored folk alike are wager to see and hear the ‘Queen of the Blues,’ a capacity house is predicted for Saturday night.”
Unfortunately, there are no extant issues of the historic African American newspaper the Indianapolis Recorder for this period. It would be interesting to explore the differences in the coverage of Smith’s performances between a white and black newspaper and perhaps this could be accomplished using the Chicago Defender, but is outside the scope of this post.
As expected, Mamie Smith and her Jazz Hounds sold-out the Richmond Coliseum, which held 2,500 people, for the April 23, 1921 performance. The next year, the KKK also sold-out the same venue. The Richmond Palladium and Sun-Telegramreported on December 12, 1922 that a crowd awaiting a Klan rally “taxed the space at the Coliseum waiting for the ceremonies quite a long time before the Klansmen finally arrived.” So how was the white population of Richmond able to enjoy an African American musician one year and then attend a Klan rally the next?
While this contradiction may seem surprising, there was (and some argue still is) a tendency for white Americans to de-contextualize African American music from African American culture. That is, the white residents of Richmond were able to appreciate black music while continuing to oppress black people. There has been much written on this topic (two good places to start are Imamu Amiri Baraka‘s The Music: reflections on Jazz and Blues and Perry Hall’s “African American Music: Dynamics of Appropriation and Innovation“) and an extensive analysis of Smith’s career through this lens is outside the scope of this post. However, advertisements continued after her performance, from which we can draw that she was a hit regardless of why. Notice the advertisement claims that there was “a capacity audience.”
While we were unable to find an article reviewing the Richmond performance or the crowd’s reception, it likely went well because she returned to Indiana the next month. On May 31, 1921, she performed to another capacity crowd at the Oliver Theater in South Bend. The South Bend News-Times covered her performance in much the same manner as the Richmond Palladium. The paper noted in various articles, her fame, her genius, and her status as “the first colored girl artist to attain world-wide fame as a singer and phonograph record star.”
Mamie Smith’s importance to music history is hard to overstate, according to a story on NPR’s All Things Considered for which famed activist Angela Davis (now a professor at University of California/Santa Cruz ) was interviewed. Davis summed up Smith’s importance succinctly:
“The recording of ‘Crazy Blues’ led the way for the professionalization of black music, for the black entertainment industry, and indeed for the immense popularity of black music today.”
As you’re likely in your second or third week of social isolation, you’ve probably done everything you can think of to occupy yourself. You’ve exercised at home, binged all your favorite shows, cleaned and dusted, and reread your favorite books. What else is there to do?
Puzzles!—a longtime mainstay of home-bodied folks. Whether it’s crosswords or word searches, tabletop jigsaw puzzles or drawing games, puzzles can be a welcome pastime. These three stories from Hoosier State Chronicles, our freely-accessible digital repository of nearly a million pages of historic newspapers, will challenge your mind and warm your heart. The first item comes to us from nearly 100 years ago, in the August 28, 1920 issue of the Richmond Palladium and Sun-Telegram. This puzzle, known as “Pencil Twister,” was printed in the Junior Palladium section of the paper, a four-page insert published on Saturdays.
Do you think you can complete the picture? (You can view the answer here.) You would copy the object shown onto a blank piece of paper and then turn it 90-degrees counterclockwise.From there, you would attempt to complete the drawing based on a clue, which for this puzzle is “Can you change Santa into an Apricot Sundae?” I hope that you got it! This drawing puzzle is a bit different than most of your average brain games.
Next up is an inspiring story from the October 29, 1983 issue of the Indianapolis Recorder. It centers on the life of Bertie Miller, a retired nurse’s aide and secretary who devoted her golden years to jigsaw puzzles—using only one hand to complete them. Years before, Miller lost her right hand to an amputation following a stroke, but that didn’t stop her. Her passion for puzzles started around that time, when her friend asked her to help finish one. “By having use of only one hand,” Miller shared, “I didn’t think I would be much help—I looked past my handicap and helped her.” After that, she was hooked. Over the next seven years, she completed roughly 200 jigsaw puzzles, many of which she had framed for display in her room at the Central Healthcare Center where she lived. She even won a blue-ribbon award at the Indianapolis Black Expo for one of her puzzles.
Alongside her jigsaw joys, Miller kept herself busy with distributing mail to her fellow residents at the Central Healthcare Center, playing bingo, chatting with other residents who were room bound, and attending church. She was also a grandmother to seven and great grandmother to another seven, all of whom she would regularly visit with. The Recorder called her a “truly remarkable and independent lady.”
Mary Jane Allen, activity director for the center, remarked on Miller’s love for puzzle craft. “Among Mrs. Miller’s favorite puzzles to work have been The Lord’s Supper, the Changing of the Guards, animals, flowers, antique cars and a large puzzle of kinds of jellybean candies.” Allen also reflected on how this hobby improved Miller’s life for the better. “She has rehabilitated herself with this hobby and is learning to use her good hand,” Allen said. Miller loved sharing her hobby with others; her completed puzzles adorned the walls of the center and were given to fellow residents as gifts. Bertie Miller “hasn’t let her handicap prevent her from living and [bringing] happiness to others,” the Recorder noted. During your time at home, dust off your puzzles and finish one in Bertie’s honor.
Our final story comes from a May 4, 2001 article in the Indianapolis Recorder that also reports on jigsaw puzzles but focuses this time on their educational value. W. Bruce Adams, an entrepreneur who worked as a salesman for iconic game company Parker Brothers, started his own venture creating African American history themed jigsaw puzzles. “I couldn’t believe that 10 years after I left Parker Brothers there were still no puzzles with African-American themed images on them,” he said. This inspired Adams to develop his own line of African American themed puzzles. “I looked all over and couldn’t find any,” he remembered. “I said ‘this is a perfect opportunity for me to start a business, doing something no one else is doing.’”
Adams’s passion for culturally-relevant products may have started when he worked as an intern for the trailblazing congresswoman and presidential candidate, Shirley Chisholm. Realizing law wasn’t for him during his work with Chisholm, Adams found his calling in sales and worked for Parker Brothers, as well as Gabriel Toys and Bristol-Myers. It was at Parker Brothers that he first discovered there were no African American themed games, so he started developing prototypes in his spare time that he sold at flea markets, yard sales, and trade fairs.
Portraits of African American Inventors, W. B. Adams Puzzles & Games, Amazon.com.
Adams began his own game company around 1998, with his first two puzzles centered around African American history. The first, “Portrait of African American History,” highlighted important figures such as Harriet Tubman, Frederick Douglass, and Dr. Martin Luther King, Jr. The puzzle “The Dream, Martin Luther King, Jr.” focused exclusively on the civil rights leader and orator. Later, he created puzzles focusing on Kwanzaa and Kenyan culture. Adams developed these puzzles and others with African American artists, such as Brenda Joysmith, Synthia St. James, Charles Bibbs, and Paul Goodnight. His roster grew to 20 puzzles by 2001.
“Developing a Winner,” W. B. Adams Puzzles & Games, Art by Brenda Joysmith, Amazon.com.
Customers at flea markets and trade shows were thrilled with Adams’s puzzles, citing their educational value. Adams recalled:
When I was doing flea markets, African American parents would always come up to me and ask, ‘Do you have any African-American educational puzzles?’ Puzzles are very educational because they teach eye hand coordination skills, they help your memory, and I noticed that a lot of African Americans bought puzzles.
His success with the company led to retailers like Walmart and Toys “R” Us carrying his products, which sometimes sold out too quickly for his small sales staff to keep up with. In an effort to meet demand, the company used telemarketing and the internet to get the word out about his puzzles.
Kwanzaa Family Celebration 300 Piece Jigsaw Puzzle, W. B. Adams Puzzles & Games, Amazon.com.
Alongside puzzles, Adams developed educational CD-ROM games with Lady Sala Shabazz, a nationally-syndicated radio host and independent children’s book author. He also developed puzzles with food entrepreneur and television personality Wally “Famous” Amos. Adams’s dedication to fun games with a message should encourage you to take advantage of the time you have at home, to perhaps finish a puzzle with a historical or educational theme. If you have kids, bring them in on the fun!
We hope these stories of puzzles, games, and community have helped uplift you. It’s through all of our actions that we can extend our sense of Hoosier kindness to ourselves and others. Now, get to puzzling!
Photograph from Nancy Poling’s personal collection.
Out of courtesy to their descendants, the names of the Richmond couple have been changed.
Twenty-two years before Loving v. Virginia, Anna Harley, a white woman, and Daniel Winters, an African American man, sacrificed family, friends, and even country, to live together as husband and wife. In 1986, the Winters allowed me to interview them at their Mexico City home. It took me nearly 30 years to write Before It Was Legal: a black-white marriage (1945-1987). As the trust between us developed and they shared a part of their life they’d intended not to speak of, theirs became a more difficult narrative to put to paper. Looking back on their forty-two-year marriage—a tape recorder between them on their green sofa—they reflected on their relationship with startling honesty.*
On February 2, 1945, the Richmond, Indiana couple drove to Chicago, where they could legally marry. In Indiana “marriage between a white person and a person with one-eighth or more Negro blood” was a felony, punishable by a heavy fine, imprisonment, and the voiding of the marriage. Not until two years later, when Daniel’s mother, in Richmond, became ill, did the couple return to Indiana. During the eleven years they lived there, they were never prosecuted, but faced persecution.
Daniel was born in Richmond in 1908. The town he remembered was as segregated as most southern cities, with restaurants, beaches, and hotels off-limits to the city’s black population. When African American celebrities like Louis Armstrong, Joe Lewis, and Marian Anderson, visited the Indiana city they had to spend the night with a local widow, who rented out rooms.
A precocious child and an outstanding athlete, Daniel wasn’t bothered by the community’s discrimination until he was old enough to participate in team sports at school. A particularly painful memory included a frigid evening in which he had to change into his basketball uniform outside in the shadows of the YMCA building, because the association prohibited him from using its locker room. Although he took all of the advanced classes in high school, his white teachers never encouraged him to attend college. Yet in 1933, during the Great Depression, he graduated from Earlham College with a teaching degree in Spanish. While at the school, President William Cullen Dennis’s office chided Daniel for walking into town with groups of white women on his way home from classes. Daniel could not participate in Earlham’s social events that took place at the YMCA or Richmond hotels. After a long period of working menial jobs, he was able to teach Spanish in the federally-funded Works Progress Administration (WPA) program.
The Richmond Item, August 30, 1935, 11, accessed Newspapers.com.
Anna, born near Lima, Ohio, was seven when her mother died. Six years later her father took off to California without her. Abandoned, she went to live with her older sister, Violet, in Brookville, Ohio, near Dayton. She grew up independent and with an adventuresome spirit. Following her 1938 graduation from Manchester College, in Indiana, she became a social worker.
Daniel and Anna met in Richmond. The WPA office he worked out of was located in the same building as the Unemployment Relief Agency, which Anna supervised. A gregarious man, Daniel went downstairs to visit the young women who worked there. He and Anna began meeting at night in the privacy of her car, where they talked, kissed, and held each other. When Anna was transferred to northern Indiana and attended meetings in Indianapolis, Daniel rode there by bus. Indianapolis was large enough for them to appear in public and maintain anonymity. Yet people stared when they walked arm in arm along the sidewalk. Men sneered, “whore” in passing.
Only one of Anna’s friends, Inez, met Daniel before the marriage. Inez was quickly drawn to his charm and urbane demeanor, but she warned in letters that Anna should follow her head instead of her heart. A daughter of Anna’s sister, Violet, later said, “Mom practically had a nervous breakdown,” upon learning of the approaching marriage.
Daniel working at International Harvester, courtesy of Nancy Poling’s personal collection.
With World War II boosting production, International Harvester hired Daniel as a janitor at its Richmond plant- some company leaders were convinced that African Americans lacked the intelligence to operate machinery. The labor union, however, valued his education and elected him to leadership positions. During the McCarthy era, like other union activists, he was labeled a communist and intimidated by the FBI.
When Harvester closed its Richmond plant in 1957, no one in town would hire the “n— commie troublemaker.” By now the family included two school-age daughters. A move to Mexico offered Daniel the opportunity to practice the profession he’d been trained for and their daughters a chance to grow up free of racial prejudice.
But the move put new stressors on the couple’s relationship. Daniel, who taught English at a prestigious boys’ school, was soon saying he felt “as Mexican as chili verde.” Anna, a reserved, blond woman, felt at odds with the effusive culture whose language she never fully mastered. Daniel resented her not being outgoing; she resented his making little effort to help her adjust.
While personal in nature, Daniel’s and Anna’s story is also cultural. It speaks to the discriminatory attitudes resulting from the Ku Klux Klan’s influence during the 1920s and of McCarthyism in the 1950s. It is not the happily-ever-after story I anticipated, but an honest portrayal of the love and hurt any two people, not just a biracial couple, can encounter in an intimate relationship.
