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The Life and Lasting Influence of Bessie Smith:

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By most accounts, Bessie Smith was a rough, crude, violent woman. She was also one of the greatest Blues singers of the 1920s. The road that took her to the title “Empress of the Blues” was not an easy one. It was certainly not one of the romantic "rags to riches" tales that Horatio Alger made popular during her time. For a young black woman from the South the journey was anything but easy, and it would require a special kind of person, and Bessie Smith was definitely that. She was a woman who fought for what she believed in and backed down to no one. She had a boundless determination, which sometimes became a flaming hot temper, and no one was exempt from it. Yet these same experiences and temperament also expressed great loyalty to those …show more content…

During that time Bessie was receiving $125 per recording and at the height of her career, she was receiving $2,000 per week, and owned her own traveling railway car. She toured regularly throughout the 1920s, particularly in vaudeville, often with jazz greats such as Louis Armstrong, Fletcher "Smack" Henderson, James P. Johnson, and Benny Goodman. In May 1925, she made the first electronically recorded record, "Cake Walking Babies," by singing into the newly invented microphone. Although, she performed primarily to black audiences, Bessie did find popularity among whites, as well. Among her most successful songs were "Jealous Hearted Blues," "Jailhouse Blues," "Cold in Hand Blues," and a version of Irving Berlin's "Alexander's Ragtime Band." Her rich voice was perfect to convey the mournfulness of her songs about poverty, oppression, and unrequited love and struck a chord in the hearts of listeners. With her tall, upright, and strikingly beautiful features, Bessie was effective at acting as well as singing, making her only film appearance in the 1929 motion picture short St. Louis Blues. In the film she sings the title song, accompanied by members of Fletcher Henderson's orchestra, the Hall Johnson Choir, pianist James P. Johnson, and a string section, which was a

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