Friday, July 19, 2013

1895

Eva Jessye (1895-1992) was a composer, musician, choral director, educator, writer, and actress, became the first African American woman to achieve acclaim as director of a professional choral group.  The Eva Jessye Choir performed regularly at the Capital Theater in New York City, from 1926 to 1929.  Jessye directed the choir in Hollywood's first African American musical, Hallelujah, in 1929.  She was born in Coffeyville, Kansas, graduated from Western University (Quindaro, Kansas), and later attended Langston University in Oklahoma. 

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Born in Woodville, Mississippi, William Grant Still (1895-1978) studied at Wilberforce University, Oberlin Conservatory of Music, and the New England Conservatory of Music.  Still worked in a great variety of musical settings, from playing in dance and theater orchestras, to supplying arrangements of popular music for African American show people, and was a prolific composer in the art-music tradition.  In 1936, Still was the first African American to conduct a major symphony orchestra, the Los Angeles Philharmonic, and became the first African American to have an opera performed by a major opera company in 1949, when New York City Opera put on Troubled Island.

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Overlooked No More: Rebecca Lee Crumpler, Who Battled Prejudice in Medicine

As the first Black woman to earn a medical degree in the United States, she persevered to make care accessible to women and Black communities, regardless of their ability to pay.

Rebecca Lee Crumpler’s “A Book of Medical Discourses” (1883) is considered a precursor to “What to Expect When You’re Expecting,” the prenatal bible for pregnant women, published more than a century later.
Credit...U.S. National Library of Medicine
Rebecca Lee Crumpler’s “A Book of Medical Discourses” (1883) is considered a precursor to “What to Expect When You’re Expecting,” the prenatal bible for pregnant women, published more than a century later.

This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.

For more than 125 years, people trampled — unknowingly — across the grass where Rebecca Lee Crumpler rests in peace alongside her husband, Arthur, at Fairview Cemetery in Boston.

Her burial plot was devoid of a gravestone even though she held a unique distinction: She was the first Black woman to receive a medical degree in the United States.

It would take more than a century, from her death in 1895 until last year, for Crumpler to be given proper recognition by a group of Black historians and physicians. Were it not for them, she might still be languishing in anonymity.

They had learned of Crumpler through the Rebecca Lee Society, a support group for Black women physicians in the 1980s, now believed to be defunct, that would occasionally roam the tree-lined grounds of the cemetery, near the edge of Mill Pond, in the Hyde Park neighborhood, looking for any evidence of her plot. People knew she had died in that neighborhood, and had consulted city records, but all they found was a brown patch of dirt where a gravestone should have been placed after interment.

Since her death, Crumpler’s legacy has been muddled by incorrect information. Some mistakenly thought that she was the second Black woman to be awarded a medical school degree, after Rebecca Cole, but Cole graduated from the Woman’s Medical College of Pennsylvania three years after Crumpler earned her degree from the New England Female Medical College (now part of the Boston University School of Medicine) in 1864.

Several books and articles have featured photographs of a woman purported to be Crumpler, even though no pictures of her are known to exist. In “Gutsy Women,” a 2019 book by Hillary and Chelsea Clinton that celebrates historically significant women, there is a photo alongside an entry on Crumpler — but it is actually a photo of Mary Eliza Mahoney, the country’s first Black licensed nurse.

After the Civil War, Crumpler worked for the medical division of the United States Bureau of Refugees, also known as the Freedmen’s Bureau, an agency created by Congress during Reconstruction to provide services for emancipated slaves whom white physicians refused to see. But throughout her life, she was ignored, slighted or rendered insignificant, even invisible.

Because of her race and gender, Crumpler was denied admitting privileges to local hospitals, had trouble getting prescriptions filled by pharmacists and was often ridiculed by administrators and fellow doctors. Still she persevered, with the knowledge that Black communities had an increased risk of illness because they were subjected to difficult living conditions and a lack of access to preventive care.

“She focused on prevention, nutrition and attaining financial stability for one’s family, all relevant factors today,” Melody McCloud, an obstetrician-gynecologist in Atlanta, said by phone. “Dr. Crumpler was a pioneer who blazed a trail upon which many other Black female physicians have trod, and now tread.”

McCloud, who urged Gov. Ralph Northam of Virginia to declare March 30, 2019, Dr. Rebecca Lee Crumpler Day — and who is trying to get a monument for Crumpler erected in Richmond, where she practiced medicine from 1865 to 1869 — was also a curator of an exhibition about Crumpler’s career at the Boston University School of Medicine.

Rebecca Crumpler was born Rebecca Davis on Feb. 8, 1831, in Christiana, Del., to Matilda Weber and Absolum Davis. She explained her initial interest in healing in “A Book of Medical Discourses” (1883):

“Having been reared by a kind aunt in Pennsylvania, whose usefulness with the sick was continually sought, I early conceived a liking for, and sought every opportunity to be in a position to relieve the sufferings of others.”

She married Wyatt Lee, a Virginia laborer, in 1852 in Charlestown, Mass. She worked as a nurse there, assisting several doctors in the Boston area. They in turn supported her application to the New England Female Medical College, where she was awarded a state-funded scholarship.

After two years, however, she took a leave of absence to care for her ailing husband, who died of tuberculosis in 1863. She returned seven months later to complete her final term but was nearly stymied after some faculty members expressed reservations regarding the amount of time it had taken her to complete her coursework.

Several of the school’s patrons who were involved in the abolitionist movement offered their support. On March 1, 1864, the trustees voted to confer on her a “Doctress of Medicine” degree. She was 33.

At the time, said Vanessa Northington Gamble, a physician, historian and professor at George Washington University, there were 54,543 physicians in the country; 270 of them were women — all white — and 180 were Black men.

The New England Female Medical College would close in 1873 without ever conferring another medical degree on a Black woman.

In 1865, Rebecca Lee married Arthur Crumpler, who had arrived in Boston three years earlier as a fugitive slave and later worked as a porter. The couple had one daughter, Lizzie Sinclair Crumpler, in 1870, but she is believed to have died young.

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The burial plot for Crumpler and her husband, Arthur, at Fairview Cemetery in Boston. Their graves were unmarked until a group of physicians and historians raised the money for their gravestones.
Credit...Friends of the Hyde Park Library
The burial plot for Crumpler and her husband, Arthur, at Fairview Cemetery in Boston. Their graves were unmarked until a group of physicians and historians raised the money for their gravestones.

By 1869, the Crumplers had moved back to Boston. They lived in the North Slope of Beacon Hill, then a predominantly Black community.

“A cheerful home,” Crumpler wrote, “with a small tract of land in the country with wholesome food and water is worth more to preserve health and life than a house in a crowded city with luxuries and 20 rooms.”

Her house, at 67 Joy Street, now has a plaque honoring her and is a stop on the Boston Women’s Heritage Trail.

From that house, Crumpler treated mostly women and children, regardless of their ability to pay. Her book, dedicated to nurses and mothers, is seen as a precursor to “What to Expect When You’re Expecting” (1984), considered the prenatal bible for countless pregnant women. It is full of admonishments.

“Children should not be asked if they like such and such things to eat, with the privilege of choosing that which will give them no nourishment to the blood,” Crumpler wrote. She also said, “Parents should hold onto their children, and children should stand by their parents, until the last strand of the silken cord is broken.”

An article in 1894 in The Boston Globe described her book as “valuable” and Crumpler as “a very pleasant and intellectual woman” and “an indefatigable church worker.”

Crumpler died of fibroid tumors on March 9, 1895. She was 64. Her husband died in 1910.

In 2019 Vicky Gall, a history buff and president of the Friends of the Hyde Park Library, began a fund-raising campaign to have gravestones installed for them both. They were added at a ceremony on July 16, 2020, which Gall led.

“I didn’t do this as a feel-good moment,” Gall said by phone. “It was a historical moment. She didn’t know the importance of what she was doing at the time, but we recognize it now.”

There is no more trampled grass near the resting site of Rebecca Lee Crumpler. Instead, there is an awakening of her contributions to the medical community. As she wrote in “A Book of Medical Discourses”: “What we need today in every community is not a shrinking or flagging of womanly usefulness in this field of labor, but renewed and courageous readiness to do when and wherever duty calls.”



1894

Ada "Bricktop" Smith (b. August 14,1894, Alderson, West Virginia - d. January 31, 1984 New York City, New York) was a vaudevillian, saloon entertainer, and nightclub owner whose clientele and friends included royalty, the wealthy, and the artistic elite.

Bricktop, born Ada Beatrice Queen Victoria Louisa Virginia Smith, was the third daughter and youngest of the five children of Thomas Smith, an African American barber, and Harriet ("Hattie") Elizabeth (Thompson) Smith. Her mother, seven-eighths white and of Irish descent, had been born a slave. Ada's lengthy name was an attempt to please many acquaintances. After her father died in 1898, the family moved to Chicago, where Hattie was a housekeeper and ran rooming houses. At the age of four or five, Ada made her stage debut in Uncle Tom's Cabin at the Haymarket Theatre in Chicago. She attended Keith public school and appeared in shows there. She also was fascinated with the saloons on State Street. When she was fourteen or fifteen, Ada joined the chorus at the Pekin Theatre but was forced to return to school.

At age sixteen, Ada left school and began singing in vaudeville with Miller and Lyles. Later she toured the Theatre Owners' Booking Association and Pantage vaudeville circuits with McCabe's Georgia Troubadours, Ten Georgia Campers, the Kinky-Doo Trio, and the Oma Crosby Trio. The following year, in New York City, Ada met Barron Wilkins, the owner of Barron's Exclusive Club in Harlem; he nicknamed her "Bricktop" because of her flame-red hair. Later that year she performed at Roy Jones' saloon in Chicago and met the boxer Jack Johnson, for whom she worked at the Cabaret de Champion until it closed in 1912. Over the following years, she appeared in many saloons, including the Panama Club, where she, Florence Mills, and Cora Green were known as the Panama Trio.

In 1917 Bricktop left the trio and went to Los Angeles. While working at the Watts Country Club she met Walter Delaney. They lived together until Delaney's history of arrests for selling drugs, gambling, and promoting prostitution forced them to move to San Francisco during a crackdown on vice in Los Angeles. Rather than drag her down with him, Delaney left Bricktop in San Francisco. She later moved to Seattle.

In 1922 Bricktop convinced Barron Wilkins to hire Elmer Snowden's Washingtonians, with pianist Duke Ellington, for his New York City Club. In 1924 she performed at the Cafe Le Grand Duc in Paris. One of her first acquaintances there was a busboy and struggling author named Langston Hughes. Visitors to Le Grand Duc included Zelda and F. Scott Fitzgerald, Fred Astaire, Ernest Hemingway, Man Ray, Pablo Picasso, John Steinbeck, Josephine Baker, Elsa Maxwell, and Cole and Linda Porter. In 1925 Bricktop taught the Charleston at the Porters' lavish Charleston parties, and they introduced her to the Paris elite. In the fall of 1926, after returning from the Porters' palazzo in Venice, Bricktop opened the Music Box saloon in Paris. It closed the same year, and she then took over Le Grand Duc. Wanting a more chic place, before the end of 1926 she opened Bricktop's, where guests such as Jascha Heifetz, Duke Ellington, Noel Coward, the Prince of Wales, and Paul Robeson, gave impromptu performances.

In 1927 Bricktop met saxophonist Peter Duconge. They were married on December 19. 1929 and separated in 1933 but never divorced; they had no children. In 1931 Bricktop opened a bigger cafe, also named Bricktop's, with Mabel Mercer as her assistant. Following the custom of Montmartre cafes, Bricktop's closed for the summer; she opened another cafe during the summer in the resort of Biarritz. In 1934, the effects of the Great Depression forced her to move her cafe to a smaller location. By the fall of 1936 she could not afford to open for the season, so she and Mercer entertained at nightspots in Paris and Cannes.

From 1938 to 1939 Bricktop did radio broadcasts for the French government. In October 1939, at the insistence of the Duchess of Windsor and Lady Elsie de Wolfe Mendl, she fled the advancing war and returned to the United States, where she was reintroduced to American racial prejudice and segregation absent from her life in Paris. In New York City she worked at many cafes and attracted refugees from Paris. In 1940, when her following moved on, Bricktop helped open the Brittwood Cafe on 140th Street in Harlem. At first it was a success, drawing such celebrities and entertainers as Earl "Fatha" Hines, Anna Jones, Willie Grant, Minnie Hilton, and Robert Taylor. In 1943 Bricktop moved to Mexico City, where she lived for six years and was part owner of the Minuit and Chavez's clubs.

In 1949 Bricktop returned to Paris, and in May 1950 she opened a new Bricktop's on the Rue Fontaine. By Christmas it was closed. She then went to Rome, where in 1951 she opened Bricktop's on the Via Veneto, drawing Italian high society and royalty. While in Italy, Bricktop, who had converted to Catholicism in 1943, was involved with Catholic charity and fund-raising projects and became a friend of Bishop Fulton J. Sheen.



On March 6, 1964 Bricktop announced her retirement from the nightclub business because of poor health--she had arthritis and a heart condition. She returned to Chicago in 1965 to live with her sister Blonzetta. After Blonzetta's death in 1967, Bricktop settled in New York City. In 1972 she made her only recording, "So Long, Baby," with Cy Coleman. She also worked with Josephine Baker, a longtime friend, who was attempting a comeback, in 1973. In the same year Bricktop made the film documentary Honeybaby, Honeybaby! In 1975 she was awarded an honorary doctor of arts degree by Columbia College in Chicago. She continued to perform, but made few appearances after 1979 because of declining health. In 1983, on her last birthday, she was presented with the seal of New York City and a certificate of appreciation by Mayor Ed Koch. Just a few months later Bricktop died in her sleep at her Manhattan apartment. More than 300 people attended her funeral at St. Malachy's Church in Manhattan. She was buried at Woodlawn Cemetery in the Bronx.

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Bessie Smith, in full Elizabeth Smith   (b. April 15, 1894 (1898?), Chattanooga, Tennessee —d. September 26, 1937, Clarksdale, Mississippi) was an American singer and one of the greatest of blues vocalists.
Smith grew up in poverty and obscurity. She may have made a first public appearance at the age of eight or nine at the Ivory Theatre in her hometown. About 1919 she was discovered by Gertrude "Ma" Rainey, one of the first of the great blues singers, from whom she received some training. For several years Smith traveled through the South singing in tent shows and bars and theaters in small towns and in such cities as Birmingham, Alabama; Memphis, Tennessee; and Atlanta and Savannah, Georgia. After 1920 she made her home in Philadelphia, and it was there that she was first heard by Clarence Williams, a representative of Columbia Records. In February 1923 she made her first recordings, including the classic “Down Hearted Blues,” which became an enormous success, selling more than two million copies. She made 160 recordings in all, in many of which she was accompanied by some of the great jazz musicians of the time, including Fletcher Henderson, Benny Goodman, and Louis Armstrong.

Bessie Smith’s subject matter was the classic material of the blues: poverty and oppression, love—betrayed or unrequited—and stoic acceptance of defeat at the hands of a cruel and indifferent world. The great tragedy of her career was that she outlived the topicality of her idiom. In the late 1920s her record sales and her fame diminished as social forces changed the face of popular music and passed over the earthy realism of the sentiments she expressed in her music. Her gradually increasing alcoholism caused managements to become wary of engaging her, but there is no evidence that her actual singing ability ever declined.

Known in her lifetime as the “Empress of the Blues,” Smith was a bold, supremely confident artist who often disdained the use of a microphone and whose art expressed the frustrations and hopes of a whole generation of African Americans. Her tall figure and upright stance, and above all her handsome features, are preserved in a short motion picture, St. Louis Blues (1929), banned for its realism and now preserved in the Museum of Modern Art, New York City. She died from injuries sustained in a road accident. It was said that, had she been white, she would have received earlier medical treatment, thus saving her life, and Edward Albee made this the subject of his play The Death of Bessie Smith (1960).