1994 – Page 2 – World Queerstory

MaRainey

It’s been a really great month for queer music — we’ve got a new album from country’s first openly gay singer Steve Grand; a new album from British synthpop band Years & Years, led by the openly gay Olly Alexander; and Panic! at the Disco’s lead singer Brendon Urie came out as pansexual. With all this new news, I — of course — wanted to check out some old queer music history. It’s no surprise that led me to the incomparable Mother of Blues herself: Ma Rainey.

Born Gertrude Pridgett on April 26, 1886 in Georgia or possibly in September of 1882 in Alabama (depending on if you believe Gertrude or the U.S. census — researchers seem generally not to believe her). She was the second of five kids (the other four were pretty definitely born in Alabama — and her parents lived in Alabama. I’m just saying.) At 12 or 14 years old, Gertrude performed at a talent show in Columbus, Georgia and then began performing in black minstrel shows. According to Gertrude, she first heard blues music in 1902. The story goes that she heard a performer singing a blues song at another minstrel show — Gertrude was entranced, committed the song to memory that day, and immediately began using it as an encore to her own performances. Of course, she also claimed to have invented the name of the blues genre (she didn’t) so she’s not always the most reliable source of information. Just sayin’.

Two years later she married William “Pa” Rainey — a traveling comedian and vaudeville performer. Some time shortly after that, she and her husband formed a company called the Alabama Fun Makers Company. The troupe was short-lived, and in 1906 they both joined Pat Chappelle’s Rabbit’s Foot Company where they both performed and became quite popular.

In 1912, the Rabbit’s Foot Company was taken over by F.S. Wolcott. The Raineys stuck with the company for two more years before joining Tolliver’s Circus and Musical Extravaganza — which billed the duo as “Rainey and Rainey, Assassinators of the Blues”. The name stuck, and the two were soon using it on their own without being part of a troupe of performers. Soon after that, Gertrude was getting bookings all on her own — using the name Madam Gertrude Rainey, or “Ma”.

When Ma took the stage, she was a sight to behold — adorned in a diamond tiara, a necklace made out of $20 pieces, rings on each finger, wearing a golden gown with gold-capped teeth. She carried a gun and an ostrich plume. Audiences were enthralled. In fact, even though she was in the deep south, her shows were peacefully integrated between black people and white people. She was sometimes hired by wealthy white people to play private parties, but after every single one of these she would go out dancing and socializing at the local black café.

The Raineys spent winter in New Orleans, where they met a large number of blues performers — including Louis Armstrong, Pops Foster, and another queer blues singer Bessie Smith. (A story later came about that Ma had kidnapped Bessie, forced her to join the Rabbit’s Foot Company, and made her sing the blues but even Bessie’s family denied the story.) In 1916, Ma separated from her husband, ending both their working and romantic relationships.

Her star continued to rise, and in 1923 Paramount Records asked her to record songs for them. With Paramount, over the next several years, she released more than 100 singles and sold so many of them that she has been credited with saving the company single-handedly. The recordings were very popular — but, you know how some performers are better live than if you’re just listening to them? Ma Rainey was universally considered one of those — and audiences became even more eager to see her, and even more excited at her shows.

Ma was not as open about her sexuality as some of the women of early blues — Gladys Bentley for instance — however, she wasn’t in the closet either. In 1925, neighbors called the police when one of her parties became too raucous. The officers arrived just as things were beginning to get shall we say intimate with the all-female group. Ma Rainey was arrested for “running an indecent party” but was bailed out by Bessie Smith the next day. This may have been one reason Rainey’s guitarist Sam Chatmon thought the two were romantically linked.

This incident may have been part of the inspiration for “Prove It On Me Blues”, which Rainey recorded in 1928. The lyrics are a fairly explicitly about lesbianism and of breaking gender norms. As far as I can tell, this was the first recorded piece of music to celebrate a queer sexuality.

“Went out last night with a crowd of my friends
They must’ve been women, ’cause I don’t like no men.
It’s true I wear a collar and tie,
Makes the wind blow all the while.”

ma-rainey-prove-it-on-me

Paramount ran an ad for the song — a drawing of Ma Rainey in a three-piece suit (albeit, with a skirt and heels) and a fedora, talking to a group of women with a policeman watching from across the street. The ad said “What’s all this? Scandal? … Don’t fail to get this record from your dealer!”

1928 was Ma Rainey’s last year as a recording artist. Popular music styles were changing, so her contract with Paramount ended. She toured a little bit longer, before settling down back in Columbus, Georgia. It was about this time (1932) that Sterling A. Brown wrote a poem about her called “Ma Rainey”, describing how powerful her performances were. In her later years, she opened a handful of movie theaters — the Lyric, the Airdome, and the Liberty Theatre. On December 22, 1939, she had a heart attack and died but her legacy continues to this day.

Six months after Ma’s death, Memphis Minnie wrote a tribute song called “Ma Rainey”. It was the first such song, but it would not be the last. In 1965, Bob Dylan paired Ma Rainey with Beethoven in his song “Tombstone Blues”. In 1982, August Wilson published a play about her called Ma Rainey’s Black Bottom. In 1983, Ma Rainey was inducted into the Blues Foundation’s Hall of Fame. In 1994, the U.S. Post Office released a commemorative stamp in her honor. Ten years later, her song “See See Rider Blues” (recorded in 1924 — you can hear it below) was inducted into the Grammy Hall of Fame, and was also added to the National Recording Registry of the Library of Congress. In 2015, a film about Bessie Smith was released (Bessie) in which Mo’Nique played Ma Rainey, and one year later the First Annual Ma Rainey International Blues Festival was held in Columbus, Georgia. Last year (2017), in the same city, the Rainey-McCullers School of the Arts opened — named after Ma Rainey and Carson McCullers.

In 1952, Langston Hughes released a poem called “Shadow of the Blues”, in which one character proclaims of Ma Rainey: “To tell the truth, if I stop and listen, I can still hear her!” I think we still hear a bit of Ma every time an artist releases a song about queerness — and if that’s the case, I hope we never stop hearing her.

Most of us are aware of some of the LGBTQ+ rights groups active throughout the ’60s and ’70s — the Mattachine Society, the Daughters of Bilitis, the Metropolitan Community Church, etc. But these kinds of organizations existed before that — in fact, the very first one was founded near the end of the 19th century. That society was the Scientific-Humanitarian Committee or, in German, the Wissenschaftlich-humanitäres Komitee. Wikipedia abbreviates that to WhK, so I’m doing that too.

The Whk was founded on May 15, 1897 — three days before Oscar Wilde was released from prison for homosexuality (not a coincidence) — by Magnus Hirschfeld, a German-Jewish sexologist and physician. Founding members also included Max Spohr, Eduard Oberg, and Franz Joseph von Bülow. At its height, the WhK would have nearly 500 members in 25 chapters across Germany, Austria, and the Netherlands.

Magnus Hirschfeld, 1929

Hirschfeld is probably going to get his own piece written about him at some point, because he keeps showing up in events from that time period as I research them — the man did a lot for the LGBTQ+ community, and not just in Germany! But the reasons he had for starting this organization were primarily that he noticed his homosexual patients were most likely to commit suicide, and he believed that was largely because society told them that they were unnatural, and criminalized them for their natural urges and desires. (Smart guy.) Spohr was a publisher and was one of the first, if not *the* first, to publish LGBT publications (although he does not appear to have been queer himself — just an early and important ally!). Oberg was a lawyer, and Bülow was a writer and former member of the German military.

Kurt Hiller

They were soon joined by Kurt Hiller — a writer, Adolf Brand — a writer, significant also for basically inventing that thing where a writer outs a politician who is anti-gay but is secretly engaging in same-sex behavior, and Benedict Friedlaender — a sexologist and anarchist. You should note, at this point, that between Hirschfeld, Friedlaender, and Hiller the WhK has a pretty significant Jewish membership. Queer Jews. In Germany. At the beginning of the 20th century. Think about how damn brave these people were considering what that country was building up to.

Yearbook for Intermediate Sexual Types

The main goal of the WhK was to repeal Paragraph 175, which was a specifically anti-gay piece of the penal code of Imperial Germany. They gathered over 5,000 signatures on a petition to repeal the law — some of the people who signed it included Leo Tolstoy and Albert Einstein. The WhK was also committed to educating the public and so they hosted lectures on topics about human sexuality and gender. The WhK strongly supported the idea of a third gender outside the gender binary — which is pretty revolutionary for Europe at the turn of the 20th century. The WhK also helped in criminal trials, defending accused homosexuals. Lastly, they published a journal called the Jahrbuch für sexuelle Zwischenstufen (or Yearbook for Intermediate Sexual Types) which is considered by many to be the first scientific journal to deal with sexual diversity. The journal was published on a regular schedule from 1899 to 1923, and then published a sort of haphazard schedule for another ten years after that.

In 1929, Kurt Hiller took over as chairman for Magnus Hirschfeld — Hirschfeld was about to embark on a world tour speaking about his theories about human sexuality. The organization persisted until 1933 when its base of operations, the Institute for Sexual Sciences in Berlin, was destroyed by Nazis. Paragraph 175 remained in effect for another sixty years in East Germany, and was not repealed in West Germany until the two nations were reunited in 1994.

After World War II, there were efforts to reform the group. In 1949, Hermann Weber tried to restart the group — and even had the help of Kurt Hiller (who had survived being in a number of Nazi concentration camps before escaping to London). The group disbanded and then ultimately became the Committee for the Reform of Sexual Criminal Laws, which lasted until 1960. Hiller — after returning to Germany in 1955 — tried to resurrect the WhK in 1962, but was unsuccessful. Finally, in 1998, an organization was formed with the same name. The new incarnation of the WhK appears to still be around.

(Adapted from this Facebook post.)