In Prohibition-era New York City, a dose of Texas flair enlivened the city’s roaring nightlife. Larger than life in personality and style, actress “Texas” Guinan commanded the nightclub circuit with her saucy wit. She sensationalized her life, blending fact with fantasy. The child of Irish immigrants, Mary Louise Cecilia Guinan was born on January 12, 1884, outside of Waco, Texas. Her family ran a grocery business while Guinan attended Sacred Heart Academy, where classmates knew her as Mamie. Even in childhood, Guinan craved mischief, pranking local shop owners and irking her teachers. She also cultivated skills in roping and riding, which she’d draw upon later in her film career. Combining her cowgirl skills with the musical training she received in Chicago, Guinan started performing in Wild West theater acts around the turn of the twentieth century. She also entered into a brief marriage with Denver cartoonist John J. Moynahan before following her show business dreams to New York City. Guinan struggled working as a chorus girl in NYC before becoming a regular on the vaudeville circuit and performing in musical shows like The Hoyden. She did this work for about a decade until, in 1917, a talent scout offered her the opportunity for a Hollywood career starring in silent westerns. So she rode off to California and into a new phase of her career. During her time in New York, Guinan acquired the nickname Texas. The moniker’s nod to her roots and its lone star bravado made it an apt name for an emerging star of western gunslingers. Beginning with The Wildcat (1917), Guinan portrayed heroines in films like Little Miss Deputy (1919) who possessed both strong wills and real gun skills. In 1921, she started her own production company in response to Hollywood’s ageism and beauty standards negatively impacting her film career. As a producer, Guinan displayed the same independence and ingenuity as her onscreen characters. She actively engaged in publicity, rights distribution, and cast actors that fit her films, rather than using a set company. Texas Guinan Productions made a few films such as Texas of the Mounted (1921) that are no longer extant before ceasing operations in 1922. Her silent film career on the decline, Guinan returned to New York and the stage.

During the 1920s, Guinan fashioned herself onstage and off as the grand dame of NYC nightlife. She personified the flashy and excessive spirit of the age. Guinan appeared on Broadway, but it was her rapier wit and brassy style that earned her the job of emcee at the Beaux Arts Hotel. It was a rare position for a woman in the 1920s. Starting in 1924, she reigned over several clubs and speakeasies—such as the El Fey or the 300 Club—first with mobster Larry Fay and then on her own. Guinan took to greeting patrons with the phrase, “Hello, Sucker.” It became her trademark, coming with enough sass to entice patrons to purchase more bootleg liquor. Effortlessly working a room, Guinan comedically blended entertainment and allure. She even turned her continuous arrests for violating Prohibition into a show, complete with music and photo ops. When federal or local authorities shut down one of her clubs, she simply opened up another. Audaciously flagrant, Guinan styled herself and her clubs to be the center of New York’s nightlife. Capitalizing on her reputation, she again took to the screen and the road.

In the late 1920s and early 30s, Guinan created touring shows and appeared in a few films. Her already mercurial fortunes declined with the Great Depression. Guinan’s autobiographical talkies like Queen of the Night Clubs (1929) were not commercial successes, but these films nevertheless kept her profile before the public. She traveled domestically with her club’s shows, but Europe rebuffed her attempt to present her act internationally. Her incendiary character prevented her 1931 European tour from obtaining an audience. Nevertheless, she brazenly turned the experience into a popular satirical show: Too Hot for Paris. It was this life on the road, however, that eventually toppled the imposing Guinan.

She died on November 5, 1933, in Vancouver from either amoebic dysentery she contracted in Chicago or ulcerative colitis. Guinan’s memorial at Broadway’s Campbell Funeral Church brought 12,000 people in to pay their respects. The service exhibited the brash glamour the late star embodied. Initially buried in White Plains, New York, her remains were later reinterred in a family plot at Calvary Cemetery in Queens. The rascally cowgirl from Waco had sauntered her way to big city stardom.

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Julius “Jules” Bledsoe’s extraordinary musical talent transcended racial discrimination of the nineteenth century and established him as a pioneer in American music.

Bledsoe was born on December 29, 1897, to Henry and Jessie Bledsoe in Waco. Even as a young child, he loved to sing. Bledsoe first performed publically at the age of five at New Hope Baptist Church, a church founded by his grandfather in 1866. In 1914, Bledsoe graduated from Central Texas Academy as valedictorian, and travelled to Marshall, Texas, to study liberal arts and music at Bishop College. After graduating magna cum laude in 1918, Bledsoe served as a civilian chaplain for an ROTC program at Virginia Union University in Richmond from 1918 to 1919.

In 1920, Bledsoe began his graduate study of medicine at Columbia University. After taking voice lessons with notable musicians such as Claude Warford, Luigi Parisotti, and Lazar Samoiloff, however, his career plans began to shift. He made his professional music debut on April 20, 1924, in the Aeolian Hall in mid-town Manhattan. Sol Hurok, a twentieth-century American impresario, sponsored Bledsoe’s first performance. Over the next several years, Bledsoe performed in various capacities around the city. He received his first leading role in an opera in 1926, when he performed the baritone role of Tizan in Deep River. Following one of Bledsoe’s New York performances, a critic from the New York Morning Telegraph praised Bledsoe as the star of the cast who could “pick the heart right out of anybody.”

Yet it was Bledsoe’s portrayal of Joe in a 1927 production of Jerome Kern's Showboat which launched him into the spotlight. His interpretation of the tune “Ol’ Man River” became a classic in American music. He later starred in the 1929 film production of Showboat as well. Bledsoe quickly earned international renown. He performed both in the United States and in Europe, and was praised for his command of several languages, his impressive vocal range and control, and a power to communicate ideas and emotions through music.

During this time, racial discrimination prevented African Americans from performing with major opera companies. Yet Bledsoe’s talent and renown earned him the right to perform with distinguished organizations such as the Concertgebouw Orchestra of Amsterdam, the BBC Symphony in London, the Royal-Dutch Italian Opera Company, and the Cosmopolitan Opera Association in New York.

Bledsoe did not confine his career solely to the performance of music, but also composed many pieces. He wrote several spirituals and patriotic songs, such as “Pagan Prayer” and “Ode to America.” The Concertgebouw Orchestra of Amsterdam performed his African Suite, a set of four songs for voice and opera. Bledsoe also composed an opera titled Bondage in 1939, based upon Harriet Beecher Stowe’s novel Uncle Tom’s Cabin.