Ma Rainy's Accomplishments

Blues music was the driving force of the entertainment industry during the 1920s. Originating in the Southern United States of America after Reconstruction ended, blues music was first created by African American communities. It remained a predominately Black form of entertainment until it was brought mainstream by Black women blues singers such as Bessie Smith and Ma Rainey. These artists and other blues singers were the most popular artists of the 1920s and brought much success to the record labels and producers that they worked with. Despite the accomplishments of these artists, they were often subject to exploitation and mistreatment by the same companies. In Ma Rainey’s Black Bottom, August Wilson exposes how blues singers in the 1920s

While Irvin recognizes Ma Rainey’s success, Sturdyvant devalues her and her accomplishments. Specifically, he refuses to respect her title, attempts to alter the type of music she produces, and denies her artists’ fair pay. Although August Wilson emphasizes the triumphs of Ma Rainey’s career, Sturdyvant serves as a foil to illustrate the mistreatment and exploitation Black artists faced within their own industry. Sturdyvant’s and Irvin’s discussion prior to Ma Rainey’s arrival reflects the lack of respect that Blues artist had from their white managers and producers during the 1920s. When an artist makes a contribution and impact to their respective field, they are often adorned with titles that reflect their significance. Ma Rainey was known as the Mother of Blues (Wilson 19). Born Gertrude Pridgett, Ma Rainey’s began her career as a part and minstrel and vaudeville acts (Bogumil 19). Although singers such as Mamie Smith began recording music before Ma Rainey did, her successful vaudeville show earned her popularity throughout the United States (Springer 34, Bogumil 19). However, this success is not respected by Sturdyvant. While discussing their impending recording

As stated earlier, blues music grew out of post-Reconstruction African American communities. It was the black proletariat from the Southern United States that was the economic force behind performers such as Ma Rainey (Springer 34). While discussing Ma Rainey’s latest record sales, Sturdyvant reveals that he is disappointed by the sales data. Although Ma’s records are popular in Memphis, Birmingham, and Atlanta, they did not sell well in places such as New York City (Wilson 19). As a result, Sturdyvant expresses to Irvin his desire to began a career in a more “respectable” industry (Wilson 19). Prior to and during the 1920s. As blues music’s popularity increased, and the producers of the music sought to expand the demographics of its audience. Thus, producers adjusted their music to appeal to white and black bourgeoisie audiences so that the music could be marketed as respectable (Springer 34). The audience that they sought to appease was not the audience that was supporting Ma Rainey, which were working class African Americans. Therefore, when Sturdyvant and Irvin attempt to alter the music that she is supposed to record for the day she challenges them. One of the songs that the men seek to have Ma perform is “Moonshine Blues” which is a song not by Ma, but by her contemporary Bessie Smith (Wilson 22). In Understanding August Wilson Mary L.Bogumil suggests that