How the Empress of the Blues Became a Commodity

Smith, Bessie, Lovie Austin, Don Redman, Fletcher Henderson, and Lovie Austin. Chicago Bound Blues. 1923. Audio. https://www.loc.gov/item/jukebox-672304/.

Bessie Smith was born in 1894 or 1895 in Chattanooga, Tennessee.  One of seven siblings in a poor household, Bessie came from the humblest of beginnings possible.  From a young age, Smith worked as a street performer, much to her older sister’s chagrin, and in 1912, she began to play more public shows which resulted in her being noticed by blues legend Ma Rainey1.  Rainey mentored Smith, and eventually Smith was playing shows with herself as the star of the night.

In 1923, Smith was signed to Columbia Records during a time where “race music” or music by Black artists for Black singers was an incredibly an incredibly lucrative side of the music industry.  While “race music” artists were given a degree of creative freedom in the musical process, they were often underpaid as it was the record label executives that were making the real money.  Black voices and experiences became a commodity that could be sold to White and Black listeners alike.

Advertisement from The Chicago Defender, from “Extra! Chicago Defender Race Records Ads Show South from Afar” by Mark K. Dolan

Many of these ads would co-opt Black vernacular and “spoke through minstrel stereotypes, in part echoing the tent-show venues where performers such as Rainey toiled for years and where Bessie Smith reportedly stood her ground against Ku Klux Klan riders…”2 (Dolan, 110).  Songs, such as “Chicago Bound Blues” which references the Defender, that referenced the Great Migration were greatly lucrative to record companies as Black singers lamenting over their experiences was highly profitable.

Black artists that wanted to see a small modicum of financial success by recording were stuck between a rock and a hard place in the recording industry, as before the 1920’s, the only sanctioned versions of expressing Black identity through music were minstrelsy or spirituals3.  “Race music”, however, presented a new opportunity for Black Artists to artistically express themselves.  Bessie Smith’s legendary career and impact on the blues can not be overstated, but it must not go unmentioned how she was still advertised via stereotypes and grossly underpaid.

1 Boomer, Lee. n.d. “Life Story: Bessie Smith (1894 or 1895–1937).” Women & the American Story. Accessed September 27, 2023. https://wams.nyhistory.org/confidence-and-crises/jazz-age/bessie-smith/#resource.

2 Dolan, Mark K. “Extra! Chicago Defender Race Records Ads Show South from Afar.” Southern Cultures 13, no. 3 (2007): 106–24. https://www.jstor.org/stable/26391067.

3 Brackett, David. “Forward to the Past: Race Music in the 1920s.” In Categorizing Sound: Genre and Twentieth-Century Popular Music, 1st ed., 69–112. University of California Press, 2016. http://www.jstor.org/stable/10.1525/j.ctt1c84fg2.9.

 

Works Cited

Boomer, Lee. n.d. “Life Story: Bessie Smith (1894 or 1895–1937).” Women & the American Story. Accessed September 27, 2023. https://wams.nyhistory.org/confidence-and-crises/jazz-age/bessie-smith/#resource.

Dolan, Mark K. “Extra! Chicago Defender Race Records Ads Show South from Afar.” Southern Cultures 13, no. 3 (2007): 106–24. https://www.jstor.org/stable/26391067.

Brackett, David. “Forward to the Past: Race Music in the 1920s.” In Categorizing Sound: Genre and Twentieth-Century Popular Music, 1st ed., 69–112. University of California Press, 2016. http://www.jstor.org/stable/10.1525/j.ctt1c84fg2.9.

Streaty, Donna. “EMPRESS OF THE BLUES: BESSIE SMITH.” Negro History Bulletin 44, no. 1 (1981): 22–22. http://www.jstor.org/stable/44176459.

Smith, Bessie, Lovie Austin, Don Redman, Fletcher Henderson, and Lovie Austin. Chicago Bound Blues. 1923. Audio. https://www.loc.gov/item/jukebox-672304/.

Feminist or Fraud: The Authenticity of Bessie Smith’s Music

Though her rein took place during the 1920’s the “Empress of the Blues,” Bessie Smith, is still a household name.1 Blues queens, like Bessie Smith, had a huge impact on the music scene of the time but they also made considerable contributions to the cultural environment of the time. Their songs, often times characterized by their themes of love and loss, talked about the struggles of being a black woman and the consequences of the cross section between race, gender, and class. One example of this is Bessie Smith’s “A Good Man is Hard To Find” which talks about a cheating husband but also the difficulty of leaving a relationship due to outside forces.

The authenticity of the stories within blues queens’ music is something that has been continually questioned.2 The success of these women put them in the spotlight and made them someone to critique as well as a figure to look up to. This popularity is exhibited through the numerous radio spots, advertisements for sold out performances, and music endorsements, like the one below.3

“Chirpin’ the Blues” sheet music with endorsement by Bessie Smith

Though the music was the main event of a Blues queen’s career, if the authenticity of their music and the narrative surrounding them was questioned then they could lose support and ultimately those gigs would go away. This is not a singular issue, though, rather it is a societal issue rooted in sexism and racism. Bessie Smith is not exempt from this kind of critique.She was very rich and very famous, and sometimes its hard to think that a figure like that could experience things like cheating, addiction, or poverty. Bessie Smith was not exempt from critique but she was a much more complicated woman than met the eye. In “A Good Man is Hard to Find” Bessie Smith sings about a rather specific situation in which a man cheats on a woman and the woman wishes she could go back in time and fix the situation. Bessie Smith may, or may not have experienced this specific situation but she did experience love and loss, and could relate to the feelings exhibited in the song. Her parents passed away when she was very young and she supported herself by singing on street corners. She was married twice, the first marriage ending in the death of her husband and the second ending in a painful divorce.5 In Bessie Smith’s case, her music is a reflection of her experiences. There are a lot of scenarios in her songs that she may not have lived through but she experienced the kind of pain and loss that permeated many of them. Ultimately, bringing attention to these experiences and showing the resilience and ingenuity of women she should be lauded as a feminist and a positive role model.

1 Lordi, Emily J.. Black Resonance: Iconic Women Singers and African American Literature. New Brunswick: Rutgers University Press, 2013.

2 Suisman, David. “Was Bessie Smith a feminist?.” Souls, vol. 1 iss. 1, 1999.

3 Austin, Lovie adn Alberta Hunter. “Chripin’ the Blues.” New York: Jack Mills, Inc, 1923.

4 Blackwell, Amy Hackney. “Ma Rainey.” In The American Mosaic: The African American Experience, ABC-CLIO, 2018.

5 “Bessie Smith.” In The American Mosaic: The African American Experience, ABC-CLIO, 2018.