vaudeville – World Queerstory

Okay, I’m going to admit that I just learned about this one this week and I’m pretty excited about it. Almost all of the information available comes from two — Channing Gerard Joseph, who is writing a book The House of Swann: Where Slaves Became Queens about this topic but the book isn’t out yet, and Netisha Currie — who dipped into some archives to verify the story. What I’m saying is, I’m not going to pretend to have one hundred percent of the information. Just wanted to throw that disclaimer out there first. I was really going to wait for the book to come out but, like, I’m kinda too excited to wait until it comes out next year and then I read it to tell you about this.

So, today we’re talking about William Dorsey Swann. Swann was born somewhere in Maryland sometime around 1858. He was a slave in Hancock, Maryland for the first several years of his life — because Maryland was not part of the Confederacy, their slaves weren’t freed by the Emancipation Proclamation and Maryland didn’t free its own slaves until 1864, only a couple of months before the 13th Amendment was ratified. Swann was thankfully freed before then — thanks to the intervention of Union soldiers. Swann is known to have developed friendships with other queer former slaves, including Pierce Lafayette and Felix Hall, two formers slaves who are documented to have been in a relationship.

By the 1880s, Swann had moved to Washington D.C. In 1882, he was arrested for stealing books from the Washington Library Company and from Henry and Sara Spencer — who employed Swann at the Spencerian Business College. Swann pled guilty and was sentenced to six months in jail. In October, having served only one month of his sentence, Henry and Sara Spencer petitioned President Chester A. Arthur to pardon Swann. Both the judge who had sentenced him and the assistant US District Attorney even supported the petition — pointing out that the theft of books was only an effort to educate himself. It’s unknown if the pardon was granted.

At some point in the 1880s — before or after his previous arrest we’ll never know — he began hosting what we would now call drag balls, of the sort that had begun in Harlem in 1867 with the Annual Odd Fellows Ball. Of course, those balls — while not, perhaps “acceptable” were charity events hosted by relatively wealthy, elite African Americans who could get away with things that poor freed slaves could not. Swann himself was regularly dressing in fabulous gowns, which his brother made, and calling himself “the queen of drag” — well before the term “drag” was being used much outside of theaters and certainly before the term “drag queen” was coined (which doesn’t become popular until the 1920’s). Swann was arrested at one of these balls in January of 1887 — which had both black and white guests in drag. Even so, Swann wasn’t exactly breaking new, unheard of ground, but was definitely pushing at its edges.

Until April 12, 1888. One of Swann’s balls was held in a two-story home near the corner of 12th St and F St. And it was raided by police. The guests made a mad dash for the exits — but Swann made a charge for the police themselves. He was supposedly a large, imposing man who — that night — is described as having worn a cream-color satin gown. Swann physically fought the police to prevent them from entering — with no success. This was, however, one of the first times queer people fought back against police oppression.

13 black men, including Swann, were arrested, charged with “being suspicious characters” and made to pay fines or spend 30 days in jail. Their names were published in various papers – although those lists of names weren’t the same in every paper so that’s a fun mystery for someone else to solve. The list of names that were the same in every paper were: William Dorsey, John Smith, Jacob Byard, Charles Myers, Samuel Jackson, James Waters, James Howard or Laura Howard, James Taylor, and Benjamin Moore. Some papers also listed Jacob Lewis, Samuel Lewis, Lewis Jackson and Albert Lee. Nearly all of those arrested made bail — Swann was bailed out by his employer. This was reported in both The Washington Post, The Washington Critic, and The Evening Star on April 13. The Washington Critic, notably, called the event a “drag party” which may have been one of the earliest uses of that phrase.

Swann managed to avoid having any of his balls raided again until New Years Eve of 1895. That ball was barely starting when police came in — they arrested Swann and three of his black guests — letting his three white guests go, although they were later summoned as witnesses. The three black guests were charged with vangrancy but Swann was charged with “running a disorderly house” — that’s a term I’ve talked about before, but essentially it means they were accusing him of running a brothel. The witnesses testified that they had danced and drank alcohol — hardly damning, I don’t think, but it also didn’t exactly help. Swann was sentenced to ten months imprisonment — the judge didn’t think that was enough and stated: “I would like to send you where you would never again see a man’s face, and would then like to rid the city of all other disreputable persons of the same kind.”

The trial went by very quickly — Swann was convicted three days after being arrested. Three months into serving his sentence, he decided (correctly) this whole thing was unjust and that there was something that could be done about it. He filed a petition for pardon with President Grover Cleveland. He stated that he would never engage in the crime again, that he was a hard worker and an upstanding member of the community. Thirty of his friends signed the petition. However, the US District Attorney, A.A. Birney, was not on board this time, writing: “This petition is wholly without merit. While the charge of keeping a disorderly house does not on its face differ from other cases in which milder sentences have been imposed, the prisoner was in fact convicted of the most horrible and disgusting offences known to the law; an offence so disgusting that it is unnamed. This is not the first time that the prisoner has been convicted of this crime, and his evil example in the community must have been most corrupting.”

In July, Swann’s friends began pushing harder — stating that conditions in jail were bad for his health. I don’t know if these claims were true, but a doctor who had examined Swann in March and said he was healthy diagnosed him with a heart condition in July, claiming that being held in prison could potentially be deadly. Now, knowing who Grover Cleveland’s sister was, one might imagine he would be somewhat sympathetic to the plight of queer people in the US. One would be very wrong. Grover officially denied the pardon on July 29, 1896 — proclaiming that the concerns for Swann’s health did not outweigh the “character of the offense.”

Although the petition was unsuccessful, this does mark the first time in the history of the United States that anyone attempted to take legal action to defend the rights of LGBTQ+ people to assemble. Swann did survive the prison sentence, but retired from drag (unsurprisingly, I would say). His brother continued making dresses for men who wanted to participate in drag balls, which were a tradition that continues even today.

Sadly, there’s no actual images of Swann — he often gets paired up with pictures of this incredible drag performers but this is actually Mr. Brown from the Vaudeville duo Gregory and Brown, who introduced the “cake walk” dance to the world. That’s no small thing either but it is a story for another day.

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.