Entertainment
Meet Mamie Smith, the first African American singer who gained instant fame but died broke
- /home/naijuinz/public_html/wp-content/plugins/mvp-social-buttons/mvp-social-buttons.php on line 27
https://naijablitznews.com/wp-content/uploads/2024/09/Mamie-Smith.jpg&description=Meet Mamie Smith, the first African American singer who gained instant fame but died broke', 'pinterestShare', 'width=750,height=350'); return false;" title="Pin This Post">
- Share
- Tweet /home/naijuinz/public_html/wp-content/plugins/mvp-social-buttons/mvp-social-buttons.php on line 72
https://naijablitznews.com/wp-content/uploads/2024/09/Mamie-Smith.jpg&description=Meet Mamie Smith, the first African American singer who gained instant fame but died broke', 'pinterestShare', 'width=750,height=350'); return false;" title="Pin This Post">
Mamie Smith, on record as the first Black female singer, released a record titled “Crazy Blues” in 1920, making her the first to record and release a Blues song. This kicked down a previously locked door for Black female artists and their fans that kept them out of mainstream music.
The record became a smash hit in Black communities across the country, revolutionizing the blues genre and opening the doors of popular music to Black female artists.
More importantly, the success of “Crazy Blues” proved to the music industry that Black women could make hit records, and that there was a thriving market for Black, popular music.
Born in Cincinnati in 1891, she began her career in show business as a dancer with the Four Dancing Mitchells. By 1910, Smith was touring the Midwest and East Coast with the Smart Set Company, a Black minstrel troupe. She married singer William “Smitty” Smith in 1912. The couple moved to New York, where she began working as a cabaret dancer, pianist, and singer. Her first major break came in 1918 when she appeared in Perry Bradford’s musical “Made in Harlem.”
Bradford had long dreamed of having Black singers record blues tunes for a mass market, but it was a tough sell for recording studios at the time. Eventually, Otto Heinemann, the president of fledgling OKeh Records, decided to take Bradford up on his idea, but Frederick Hager, the company’s recording manager, wanted Sophie Tucker, a white singer, to record the songs. Because Tucker signed with another label, Bradford convinced Hager to take a chance on Smith.
According to music critic Daphne Brooks, Smith, her fans, and the rallying behind the blues artists that followed her breakout success, helped pave the way for the fan armies that continue to surround Black women artists more than a century later, such as Beyonce’s “BeyHive” or Nicki Minaj’s “Barbz.”
“Mamie Smith almost singlehandedly jump-started the popularity of blues music in American culture,” says music journalist and author, Jas Obrecht, who profiled Smith for Living Blues magazine in 2019. “I would argue everybody who loves music and performs blues music, whether they know it or not, they owe a debt of appreciation to Mamie Smith.”
Smith’s popularity shot through the roof following “Crazy Blues,” which netted her about $100,000 in royalties, a fortune at the time. Her stage appearances, characterized by her signature glam style of shimmering gowns, plumes and diamond tiaras, raked in up to $1,500 a week. She later appeared in films, like the 1929 theatrical short “Jail House Blues” and 1939’s “Paradise in Harlem. But the success didn’t last, reports say.
By the time of her death in 1946, Smith was reportedly penniless, without even a tombstone to mark her grave in Staten Island, New York. But what the singer lacked in material wealth, she made up for in cultural influence, setting the precedent for Black female artists to become pop music divas.
According to Brooks, Smith’s legacy has ironically been overshadowed by the Black female recording artists who came after her, even though it was Smith who kicked off the classic blues women’s era of the 1920s.
Source: face2faceafrica.com
Organisers of The Headies have refuted allegations that gospel and inspirational musicians are excluded from the award’s major categories.
In a statement released on Monday via its official Instagram page, the organisers said the claim does not reflect the award’s history.
They cited previous winners such as Lara George, Kefee, Nikki Laoye and Timi Dakolo as gospel artistes who have won mainstream honours at The Headies.
The statement also noted that the Inspirational Single category was created to recognise songs that promote faith, hope and positive values.
The clarification followed an open letter from Afrogospel artiste Gaise Baba, who raised concerns about the treatment of gospel music at the awards.
Gaise Baba argued that songs should be judged on quality, sound and impact, rather than the message in the lyrics.
“A rap record is a rap record,” he wrote in part.
The singer further questioned whether commercially successful gospel songs like ‘Favour’ and his collaboration with Lawrence Oyor, ‘No Turning Back II’, receive the same consideration as mainstream Nigerian songs.
Gaise Baba also recalled his experience as a nominee, stating that the Inspirational Music category was not presented during the main ceremony at one edition.
He said nominees commit time and resources to the process and deserve proper recognition.
Fifteen housemates have been put up for possible eviction in week six of Big Brother Naija Season 11.
The nominees are Chimsom Chuka, Flora, Aikou, Bells, Tram, Gerard, Oyin, Ricky, Barry, Temi Nkem, Araga, Yusuf, Nomy, Bluethopia and Keivo.
The list was confirmed during Monday’s nomination proceedings in the house.
Head of House Abi is immune from eviction this week following her win in the week six HOH challenge.
She also becomes a two-time HOH this season.
Also safe from eviction is Sheba, who emerged as the Most Influential Player for week five.
The title comes with immunity for the following week.
With Aikou and Flora’s gambit status now revoked, both housemates are eligible for nominations and eviction for the first time this season.
The race for honours at the 18th Headies Awards has intensified following the release of nominees for the 2026 edition, with some of Nigeria’s biggest music stars set to battle across several competitive categories.
Davido, Wizkid, Burna Boy, Adekunle Gold, Ayra Starr, Tems, Asake and Rema are among the leading names on the nomination list unveiled by the organisers on Tuesday.
The ceremony is scheduled to hold in Toronto, Canada, on October 25, under the theme, “Africa to the World”.
The nominations recognise music released between August 1, 2024, and April 30, 2026, with 213 nominations spread across 35 categories.
Fola emerged as the biggest individual nominee with 10 nominations, while Omah Lay followed with eight. Mavo and Wizkid secured seven nominations each, setting the stage for a fiercely competitive awards season.
Wizkid is in contention in major categories, including Best Male Artiste, Digital Artiste of the Year, Afrobeats Album of the Year and Song of the Year. His album, Morayo, is also nominated for Afrobeats Album of the Year.
Davido also features prominently, with his album 5ive nominated for Afrobeats Album of the Year. His collaboration with Omah Lay, With You, earned nominations in Song of the Year, Afrobeats Single of the Year, Best Recording of the Year, Best Headies Collaboration and Viewers’ Choice.
Adekunle Gold joins the heavyweight contenders with Fuji nominated for Afrobeats Album of the Year. He is also nominated for Best Male Artiste and Best Performer (Live) for his performance at the National Theatre in Lagos.
Among the female stars, Ayra Starr and Tiwa Savage lead with five nominations apiece. Ayra Starr is also in contention for Best Female Artiste, Digital Artiste of the Year and Best Performer (Live).
The Next Rated category is equally expected to attract significant attention, with Fido, Fola, Llona, Mavo and Shoday competing for the coveted prize. The category has traditionally served as a major platform for identifying the next generation of Nigerian music stars.
The organisers have also announced special honours, with veteran Congolese singer, Awilo Longomba, set to receive the Headies Hall of Fame Award, while Nigerian entertainment executive, Cecil Hammond, will receive the Special Recognition Award for his contributions to African entertainment.
With established superstars, rising acts and a new crop of contenders spread across the categories, attention will now shift to the October ceremony in Toronto, where the nominees will battle for one of Africa’s most recognised music honours.
NIS deports 99 foreigners over irregular migration
NABTEB releases 2026 NBC/NTC results, records 81.24% pass rate
Nepal flood: Death toll hits 1,222, 4,875 missing
-
News23 hours ago“Go Back and Repair Our Road!” — Enugu Residents Turn APC Campaign Ground Into Assessment Session(Video)
-
Politics16 hours agoWike: ‘You want me to fold my hands for Atiku to win? No way!’
-
News23 hours agoADC gives reasons why Atiku was absent at G100 opposition summit
-
News17 hours agoDemolish financial structures of drug cartels, Marwa tasks NDLEA investigators(Photos)
-
News17 hours agoWike’s media chat more words on marble
-
Opinion23 hours ago90,000 km fiber and the digital divide
-
News19 hours agoAll Tinubu-era FCT Projects’ll be Completed Before End Of Tenure – Wike
-
News19 hours agoFCT minister Nyesom Wike’s words on marble
Warning: Undefined variable $user_ID in /home/naijuinz/public_html/wp-content/themes/zox-news/comments.php on line 49
You must be logged in to post a comment Login