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History of time in the United States
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1913
Map of U.S. time zones between April 2, 2006 and March 11, 2007. The current situation is different only in that six Indiana counties have since been moved from the Central time zone to the Eastern time zone.
The history of standard time in the United States began November 18, 1883, when United States and Canadian railroads instituted standard time in time zones. Before then, time of day was a local matter, and most cities and towns used some form of local solar time, maintained by some well-known clock (for example, on a church steeple or in a jeweler's window). The new standard time system was not immediately embraced by all.
Use of standard time gradually increased because of its obvious practical advantages for communication and travel. Standard time in time zones was not established in U.S. law until the Standard Time Act of 1918 of March 19, 1918, also known as the Calder Act (15 USC 260).[1][2] The act also established daylight saving time, itself a contentious idea.
Daylight saving time was repealed in 1919, but standard time in time zones remained in law, with the Interstate Commerce Commission (ICC) having the authority over time zone boundaries. Daylight time became a local matter. It was re-established nationally early in World War II, and was continuously observed until the end of the war.
After the war its use varied among states and localities. The Uniform Time Act of 1966 provided standardization in the dates of beginning and end of daylight time in the U.S. but allowed for local exemptions from its observance. The act also continued the authority of the ICC over time zone boundaries. In subsequent years, the United States Congress transferred the authority over time zones to the U.S. Department of Transportation (DOT), modified (several times) the beginning date of daylight time, and renamed the three westernmost time zones.
Time zone boundaries have changed greatly since their original introduction and changes still occasionally occur. DOT issues press releases when these changes are made. Generally, time zone boundaries have tended to shift westward. Places on the eastern edge of a time zone can effectively move sunset an hour later (by the clock) by shifting to the time zone immediately to their east.
If they do so, the boundary of that zone is locally shifted to the west; the accumulation of such changes results in the long-term westward trend. The process is not inexorable, however, since the late sunrises experienced by such places during the winter may be regarded as too undesirable. Furthermore, under the law, the principal standard for deciding on a time zone change is the "convenience of commerce". Proposed time zone changes have been both approved and rejected based on this criterion, although most such proposals have been accepted.
Contents
[hide]
1 War Time 1918 and 1942
2 Daylight Saving Time 1945 to 1966
3 DST 1966
4 DST 2007
5 Start and end dates of United States Daylight Saving Time
6 See also
7 Notes
8 References
9 External links
War Time 1918 and 1942[edit]
"War Time" redirects here. This usage refers to the changes of the US War Time Act, not a general period of war.
Daylight saving time was established by the Standard Time Act of 1918. The Act was intended to save electricity for seven months of the year, during World War I.[3] DST was repealed in 1919 over a Presidential veto,[4] but standard time in time zones remained in law, with the Interstate Commerce Commission (ICC) having the authority over time zone boundaries. Daylight time became a local matter.
During World War II, Congress enacted the War Time Act (56 Stat. 9) on January 20, 1942. Year-round DST was reinstated in the United States on February 9, 1942, again as a wartime measure to conserve energy resources.[5] This remained in effect until after the end of the war. The Amendment to the War Time Act (59 Stat. 537), enacted September 25, 1945, ended DST as of September 30, 1945. During this period, the official designation War Time was used for year-round DST. For example, Eastern War Time (EWT) would be the equivalent of Eastern Daylight Time during this period.
Daylight Saving Time 1945 to 1966[edit]
From 1945 to 1966 U.S. federal law did not address DST. States and cities were free to observe DST or not, and most places that did observe DST did so from the last Sunday in April to the last Sunday in September. In the mid-1950s many areas in the northeastern United States began extending DST to the last Sunday in October. The lack of standardization led to a patchwork where some areas observed DST while adjacent areas did not, and it was not unheard of to have to reset a clock several times during a short trip (e.g., bus drivers operating on West Virginia Route 2 between Moundsville, West Virginia, and Steubenville, Ohio had to reset their watches seven times over 35 miles).[6]
In summer 1960 April–October Daylight Time was nearly universal in Pennsylvania, Maryland, Delaware and states east and north of there. In Minnesota, Iowa, Missouri, Kentucky and Virginia and states north and east of there, some areas had it and some did not. Except for California and Nevada, which had April-Sept Daylight Time, 99% of the rest of the country used Standard Time year-round. (The Official Guide says "State law prohibits the observance of "Daylight Saving" time in Kentucky but Anchorage, Louisville and Shelbyville will advance their clocks one hour from Central Standard time for the period April 24 to October 29, inclusive.")
In the middle 1960s the airline and other transportation industries lobbied for uniformity of Daylight dates in the United States.
DST 1966[edit]
The U.S. federal Uniform Time Act became law on April 13, 1966 and it mandated that DST begin nationwide on the last Sunday in April and end on the last Sunday in October, effective in 1967. The act explicitly preempted all previously enacted state laws related to the beginning and ending of DST effective in 1966. Any state that wanted to be exempt from DST could do so by passing a state law, provided that it exempted the entire state, and Alaska, Arizona, Hawaii, Indiana, and Michigan chose to do so. However, Alaska, Indiana, and Michigan subsequently chose to observe DST. The law was amended in 1972 to permit states that straddle a time zone boundary to exempt the entire area of the state lying in one time zone. Indiana chose to exempt the portion of the state lying in the Eastern Time Zone; however, that exemption was eliminated in 2006 and the entire state of Indiana now observes DST, leaving Arizona (with the exception of the Navajo Nation) and Hawaii as the only two states not to observe DST. On July 8, 1986, President Ronald Reagan signed the Federal Fire Prevention and Control Act of 1986 into law that contained a daylight saving rider authored by Senator Slade Gorton (R-WA).[3] The starting date of DST was amended to the first Sunday in April effective in 1987. DST continued to end on the last Sunday in October. While the states retain the capability to exempt themselves from DST, they are forbidden by the 1966 federal law (15 USC 260a(b))[7] from increasing a state's time spent on DST, unless the United States Congress does this for the entire nation.
In response to the 1973 energy crisis, DST in the United States began earlier in both 1974 and 1975, commencing on the first Sunday in January (January 6) in the former year and the last Sunday in February (February 23) in the latter. The extension of daylight saving time was not continued due to public opposition to late sunrise times during the winter months. In 1976, the United States reverted to the schedule set in the Uniform Time Act.
DST 2007[edit]
Starting March 11, 2007, DST was extended another four to five weeks, from the second Sunday of March to the first Sunday of November. The change was introduced by Representatives Fred Upton (R-MI) and Edward Markey (D-MA) and added to the Energy Policy Act of 2005; the House had originally approved a motion that would have extended DST even farther from the first Sunday in March to the last Sunday in November, but Senators Jeff Bingaman (D-NM) and Pete Domenici (R-NM) agreed to scale back the proposal in conference committee due to complaints from farmers and the airline industry. Proponents claimed that the extension would save "the equivalent of" 10,000 barrels (1,600 m3) of oil per day, but this figure was based on U.S. Department of Energy information from the 1970s, the accuracy and relevance of which the DoE no longer stands by. Later studies by the U.S. Department of Energy and the California Energy Commission have predicted much smaller energy benefits.[8] There is very little recent research on what the actual positive effects, if any, might be.
Since DST moves sunrise one hour later by the clock, late sunrise times become a problem when DST is observed either too far before the vernal equinox or too far after the autumnal equinox. Because of this, the extension was greeted with criticism by those concerned for the safety of children who would have been forced to travel to school before sunrise, especially in the month of March. In addition, the airline industry was especially concerned if DST were to be extended through to the last Sunday in November, as this is very often (6 out of every 7 years) the Sunday after Thanksgiving. This is one of the busiest travel days at American airports, and could have resulted in much havoc among travelers who forgot that the clocks were changing that day.
If the original proposal to extend DST through the last Sunday in November had been adopted, the entire United States, with the exception of the states that exempted themselves, would have experienced the latest sunrises of the year during the month of November, which would have approached the extremely late sunrise times when DST went into effect on January 6, 1974 due to the 1973 energy crisis creeping after 9 am in places like New Salem, North Dakota at the northwestern edges of time zones.
Start and end dates of United States Daylight Saving Time[edit]
Key to colors
future date
2nd Sunday March 1st Sunday November
1st Sunday April last Sunday October
last Sunday April last Sunday October
Year
Begins (local)
Ends (local)
Notes
2020
Sun March 8 02:00 Sun November 1 02:00
2019
Sun March 10 02:00 Sun November 3 02:00
2018
Sun March 11 02:00 Sun November 4 02:00
2017
Sun March 12 02:00 Sun November 5 02:00
2016
Sun March 13 02:00 Sun November 6 02:00
2015
Sun March 8 02:00 Sun November 1 02:00
2014
Sun March 9 02:00 Sun November 2 02:00
2013
Sun March 10 02:00 Sun November 3 02:00
2012
Sun March 11 02:00 Sun November 4 02:00
2011
Sun March 13 02:00 Sun November 6 02:00
2010
Sun March 14 02:00 Sun November 7 02:00
2009
Sun March 8 02:00 Sun November 1 02:00
2008
Sun March 9 02:00 Sun November 2 02:00
2007
Sun March 11 02:00 Sun November 4 02:00 Energy Policy Act of 2005
2006
Sun April 2 02:00 Sun October 29 02:00 All of Indiana now on DST
2005
Sun April 3 02:00 Sun October 30 02:00
2004
Sun April 4 02:00 Sun October 31 02:00
2003
Sun April 6 02:00 Sun October 26 02:00
2002
Sun April 7 02:00 Sun October 27 02:00
2001
Sun April 1 02:00 Sun October 28 02:00
2000
Sun April 2 02:00 Sun October 29 02:00
1999
Sun April 4 02:00 Sun October 31 02:00
1998
Sun April 5 02:00 Sun October 25 02:00
1997
Sun April 6 02:00 Sun October 26 02:00
1996
Sun April 7 02:00 Sun October 27 02:00
1995
Sun April 2 02:00 Sun October 29 02:00
1994
Sun April 3 02:00 Sun October 30 02:00
1993
Sun April 4 02:00 Sun October 31 02:00
1992
Sun April 5 02:00 Sun October 25 02:00
1991
Sun April 7 02:00 Sun October 27 02:00
1990
Sun April 1 02:00 Sun October 28 02:00
1989
Sun April 2 02:00 Sun October 29 02:00
1988
Sun April 3 02:00 Sun October 30 02:00
1987
Sun April 5 02:00 Sun October 25 02:00 Federal Fire Prevention and Control Act of 1986
1986
Sun April 27 02:00 Sun October 26 02:00
1985
Sun April 28 02:00 Sun October 27 02:00
1984
Sun April 29 02:00 Sun October 28 02:00
1983
Sun April 24 02:00 Sun October 30 02:00 Alaska time zones changed Sun October 30 02:00
1982
Sun April 25 02:00 Sun October 31 02:00
1981
Sun April 26 02:00 Sun October 25 02:00
1980
Sun April 27 02:00 Sun October 26 02:00
1979
Sun April 29 02:00 Sun October 28 02:00
1978
Sun April 30 02:00 Sun October 29 02:00
1977
Sun April 24 02:00 Sun October 30 02:00
1976
Sun April 25 02:00 Sun October 31 02:00
1975
Sun February 23 02:00 Sun October 26 02:00 Emergency Daylight Time Act
Michigan exempted, began DST Sun April 27 02:00
1974
Sun January 6 02:00 Sun October 27 02:00 Emergency Daylight Time Act
Southern Idaho and eastern Oregon (Mountain time zone)
began DST Sun February 3 02:00
1973
Sun April 29 02:00 Sun October 28 02:00 All of Michigan now on DST
1972
Sun April 30 02:00 Sun October 29 02:00
1971
Sun April 25 02:00 Sun October 31 02:00 Indiana (Eastern time zone) opts out
1970
Sun April 26 02:00 Sun October 25 02:00
1969
Sun April 27 02:00 Sun October 26 02:00 All of Alaska and Indiana now on DST
1968
Sun April 28 02:00 Sun October 27 02:00 Arizona and Michigan opt out
1967
Sun April 30 02:00 Sun October 29 02:00 Uniform Time Act of 1966
Alaska, Hawaii, Indiana and territories opt out
1966
Sun April 24 02:00 Sun October 30 02:00 Uniform Time Act of 1966 required states that used DST in 1966 to conform to last Sunday in April to last Sunday in October
1946–65
Local decision, various dates
1945
Sun September 30 02:00 War Time ends
1944
War Time all year
Arizona War Time not observed Sat January 1 02:00–Sat April 1 02:00
Arizona War Time ends Sat September 30 02:00[9]
1943
War Time all year
1942
Mon February 9 02:00 War Time begins year round
1920–41
Local decision, various dates
1919
Sun March 30 02:00 Sun October 26 02:00 War Time ends
1918
Sun March 31 02:00 Sun October 27 02:00 War Time begins summer only
See also[edit]
Time in the United States
Time in Indiana
Daylight saving time in the United States - gives a list of future daylight saving dates
Notes[edit]
Jump up ^ United States statutes at large: containing the laws and concurrent resolutions enacted during the second session of the one hundred fifth congress of the United States of America 1998 and proclamations. Government Printing Office. 1999. p. 599.
Jump up ^ History of Daylight Time in the U.S., United States Naval Observatory
^ Jump up to: a b A Time-Change Timeline, National Public Radio, March 8, 2007
Jump up ^ An Act For the repeal of the daylight-saving law, Pub.L. 66–40, 41 Stat. 280, enacted August 20, 1919
Jump up ^ 24/7: A Resource Guide to the Law of Time Standards" Archived 2006-06-18 at the Wayback Machine., June 3, 2002
Jump up ^ Daylight Saving Time: Early adoption in law
Jump up ^ 15 USC 260a
Jump up ^ Energy Concerns Push Clocks Forward this Weekend by Nell Boyce. Morning Edition, National Public Radio, 9 March 2007.
Jump up ^ Daylight Saving Time in Arizona
References[edit]
Prerau, David. Seize the Daylight: The Curious and Contentious Story of Daylight Saving Time (Thunder’s Mouth Press; ISBN 1-56025-655-9) Discusses the establishment of standard time and daylight saving time.
External links[edit]
U.S. Navy time zone page
Standard Time Zone Boundaries 49CFR71
U.S. Law 15USC260-267
History of Daylight Saving Time at WebExhibits
Congressional Research on Daylight Saving Time
History of DST in Arizona
A Resource Guide to the Law of Time Standards
1918 and 1942 Acts
Indiana Time Zone Article
Retrieved from "https://en.wikipedia.org/w/index.php?title=History_of_time_in_the_United_States&oldid=833737559"
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Secretary of State for Housing, Communities and Local Government
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United Kingdom
Secretary of State for Housing, Communities and Local Government
Royal Arms as used by Her Majesty's Government
Incumbent
James Brokenshire
since 30 April 2018
Ministry of Housing, Communities and Local Government
Style
The Right Honourable
(Formal prefix)
Communities Secretary
Appointer
Elizabeth II
Inaugural holder
David Miliband
Formation
6 May 2006
Website
http://www.communities.gov.uk/
The Secretary of State for Housing, Communities and Local Government, or informally Communities Secretary is a Cabinet position heading the UK's Ministry of Housing, Communities and Local Government, previously known as the Department for Communities and Local Government from 2006 to 2018.[1]
This department was created in 2006 by then British Prime Minister Tony Blair to replace the Office of the Deputy Prime Minister.
The Secretary of State took over the responsibilities of the Minister of State for Communities and Local Government. This post, within the Office of the Deputy Prime Minister, was created in 2005, on the transfer of several of the functions of the then Deputy Prime Minister, John Prescott.
List of Secretaries and Ministers[edit]
Minister of State for Communities and Local Government
Portrait
Name
Term of office
Party
Ministry
Ref.
David Miliband
MP for South Shields 5 May
2005 5 May
2006 Labour Blair III [2]
Secretary of State for Communities and Local Government
Portrait
Name
Term of office
Party
Ministry
Ref.
Ruth Kelly
MP for Bolton West 6 May
2006 27 June
2007 Labour Blair III [3]
Hazel Blears
MP for Salford 28 June
2007 5 June
2009 Labour Brown [4]
John Denham
MP for Southampton Itchen 5 June
2009 11 May
2010 Labour [5]
Eric Pickles
MP for Brentwood and Ongar 12 May
2010 11 May
2015 Conservative Cameron–Clegg
(Con.–L.D.) [6]
Greg Clark
MP for Tunbridge Wells 11 May
2015 14 July
2016 Conservative Cameron II [7]
Sajid Javid
MP for Bromsgrove 14 July
2016 8 January
2018 Conservative May I [8]
May II
Secretary of State for Housing, Communities and Local Government
Portrait
Name
Term of office
Party
Ministry
Ref.
Sajid Javid
MP for Bromsgrove 8 January
2018 30 April
2018 Conservative May II [8]
James Brokenshire
MP for Old Bexley and Sidcup 30 April
2018 Conservative May II [9]
References[edit]
Jump up ^ "Secretary of State for Communities and Local Government". Government of The United Kingdom. Retrieved 4 September 2014.
Jump up ^ "Rt Hon David Miliband". UK Parliament. Retrieved 21 November 2017.
Jump up ^ "Ruth Kelly". UK Parliament. Retrieved 21 November 2017.
Jump up ^ "Rt Hon Hazel Blears". UK Parliament. Retrieved 21 November 2017.
Jump up ^ "Rt Hon John Denham". UK Parliament. Retrieved 21 November 2017.
Jump up ^ "Rt Hon Sir Eric Pickles". UK Parliament. Retrieved 21 November 2017.
Jump up ^ "Rt Hon Greg Clark MP". UK Parliament. Retrieved 21 November 2017.
^ Jump up to: a b "Rt Hon Sajid Javid MP". UK Parliament. Retrieved 21 November 2017.
Jump up ^ "Sajid Javid announced as new Home Secretary after Amber Rudd's resignation". Sky News. Retrieved 30 April 2018.
show
v
t
e
Secretaries of State for Housing, Communities and Local Government
Minister of State for Communities and Local Government
2005–06
Miliband
Secretary of State for Communities and Local Government
2006–2018
Kelly
Blears
Denham
Pickles
Clark
Javid
Secretary of State for Housing, Communities and Local Government
2018-Present
Javid
Brokenshire
show
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t
e
United Kingdom Ministry of Housing, Communities and Local Government
Headquarters: 2 Marsham Street
Ashdown House
Ministers
Secretary of State for Housing, Communities and Local Government
Minister of State for Regional Economic Development and Co-ordination
Minister of State for Housing and Planning
Parliamentary Under Secretaries of State
Executive agencies
Planning Inspectorate
Queen Elizabeth II Conference Centre
Non-departmental
public bodies
Commission for Local Administration in England (Local Government Ombudsmen)
Homes and Communities Agency
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Cabinet of the United Kingdom
Great Offices of State
Prime Minister / First Lord of the Treasury
Chancellor of the Exchequer / Second Lord of the Treasury
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Home
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Leader of the House of Lords / Lord Privy Seal
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Digital, Culture, Media & Sport
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Education
Environment, Food & Rural Affairs
Exiting the European Union
Health & Social Care
International Development
International Trade / President of the Board of Trade
Lord Chancellor / Secretary of State for Justice
Northern Ireland
Scotland
Transport
Wales
Work & Pensions
Also attend Cabinet
Attorney General
Chief Secretary to the Treasury
Chief Whip
Leader of the House of Commons / Lord President of the Council
Minister of State for Climate Change and Industry
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Secretary_of_State_for_Housing,_Communities_and_Local_Government&oldid=847819478"
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Hattie McDaniel
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Hattie McDaniel
McDaniel in 1941
Born
(1895-06-10)June 10, 1895
Wichita, Kansas, U.S.
Died
October 26, 1952(1952-10-26) (aged 57)
Woodland Hills, Los Angeles, California, U.S.
Resting place
Angelus-Rosedale Cemetery
Occupation
Actress, singer-songwriter and comedian
Years active
1920–1952
Spouse(s)
George Langford (1922) (his death)
Howard Hickman (1911) (his death)
James Lloyd Crawford (1941–1945) (divorced)
Larry Williams (1949–1950) (divorced)
Hattie McDaniel (June 10, 1895 – October 26, 1952) was an American stage actress, professional singer-songwriter, and comedian. She is best known for her role as "Mammy" in Gone with the Wind (1939), for which she won the Academy Award for Best Supporting Actress, the first Academy Award won by an African American entertainer.
In addition to acting in many films, McDaniel was a radio performer and television star; she was the first black woman to sing on radio in the United States.[1][2] She appeared in over 300 films, although she received screen credits for only 80 or so.[3]
McDaniel has two stars on the Hollywood Walk of Fame in Hollywood: one at 6933 Hollywood Boulevard for her contributions to radio and one at 1719 Vine Street for acting in motion pictures. In 1975, she was inducted into the Black Filmmakers Hall of Fame and in 2006 became the first black Oscar winner honored with a US postage stamp.[4]
Contents
1 Background and early acting career
1.1 Gone with the Wind
1.2 1940 Academy Awards
2 Later career
3 Legal case: Victory on "Sugar Hill"
4 Controversy over roles
5 Community service
6 Marriages
7 Death
8 Whereabouts of the McDaniel Oscar
9 Legacy and recognition
10 Filmography
10.1 Features
10.2 Short subjects
11 Radio appearances
12 Discography
13 See also
14 References
15 External links
Background and early acting career[edit]
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McDaniel was born to former slaves on June 10, 1895, in Wichita, Kansas. She was the youngest of 13 children. Her mother, Susan Holbert (1850–1920), was a singer of religious music, and her father, Henry McDaniel (1845–1922), fought in the Civil War with the 122nd United States Colored Troops.[5] In 1900, the family moved to Colorado, living first in Fort Collins and then in Denver, where Hattie graduated from Denver East High School. Her brother, Sam McDaniel (1886–1962), played the butler in the 1948 Three Stooges' short film Heavenly Daze. Her sister Etta McDaniel was also an actress.
McDaniel was a songwriter as well as a performer. She honed her songwriting skills while working with her brother's minstrel show. After the death of her brother Otis in 1916, the troupe began to lose money, and Hattie did not get her next big break until 1920. From 1920 to 1925, she appeared with Professor George Morrison's Melody Hounds, a black touring ensemble. In the mid-1920s, she embarked on a radio career, singing with the Melody Hounds on station KOA in Denver.[6] From 1926 to 1929, she recorded many of her songs for Okeh Records[7] and Paramount Records[8] in Chicago. McDaniel recorded seven sessions: one in the summer of 1926 on the rare Kansas City label Meritt; four sessions in Chicago for Okeh from late 1926 to late 1927 (of the 10 sides recorded, only four were issued), and two sessions in Chicago for Paramount in March 1929.
After the stock market crashed in 1929, McDaniel could find work only as a washroom attendant and waitress at Club Madrid in Milwaukee. Despite the owner's reluctance to let her perform, she was eventually allowed to take the stage and soon became a regular performer.
In 1931, McDaniel moved to Los Angeles to join her brother and two sisters. When she could not get film work, she took jobs as a maid or cook. Sam was working on a KNX radio program, The Optimistic Do-Nut Hour, and was able to get his sister a spot. She performed on radio as "Hi-Hat Hattie", a bossy maid who often "forgets her place". Her show became popular, but her salary was so low that she had to continue working as a maid.
She made her first film appearance in The Golden West (1932), in which she played a maid. Her second appearance came in the highly successful Mae West film I'm No Angel (1933), in which she played one of the black maids with whom West camped it up backstage. She received several other uncredited film roles in the early 1930s, often singing in choruses.
In 1934, McDaniel joined the Screen Actors Guild. She began to attract attention and landed larger film roles, which began to win her screen credits. Fox Film Corporation put her under contract to appear in The Little Colonel (1935), with Shirley Temple, Bill "Bojangles" Robinson and Lionel Barrymore.
Judge Priest (1934), directed by John Ford and starring Will Rogers, was the first film in which she played a major role. She had a leading part in the film and demonstrated her singing talent, including a duet with Rogers. McDaniel and Rogers became friends during filming.
In 1935, McDaniel had prominent roles, as a slovenly maid in Alice Adams (RKO Pictures); a comic part as Jean Harlow's maid and traveling companion in China Seas (MGM) (McDaniels's first film with Clark Gable); and as the maid Isabella in Murder by Television, with Béla Lugosi. She appeared in the 1938 film Vivacious Lady, starring James Stewart and Ginger Rogers.
McDaniel had a featured role as Queenie in the 1936 film Show Boat (Universal Pictures), starring Allan Jones and Irene Dunne, in which she sang a verse of Can't Help Lovin' Dat Man with Dunne, Helen Morgan, Paul Robeson, and a black chorus. She and Robeson sang "I Still Suits Me", written for the film by Kern and Hammerstein.
After Show Boat, she had major roles in MGM's Saratoga (1937), starring Jean Harlow and Clark Gable; The Shopworn Angel (1938), with Margaret Sullavan; and The Mad Miss Manton (1938), starring Barbara Stanwyck and Henry Fonda. She had a minor role in the Carole Lombard–Frederic March film Nothing Sacred (1937), in which she played the wife of a shoeshine man (Troy Brown) masquerading as a sultan.
McDaniel was a friend of many of Hollywood's most popular stars, including Joan Crawford, Tallulah Bankhead, Bette Davis, Shirley Temple, Henry Fonda, Ronald Reagan, Olivia de Havilland, and Clark Gable. She starred with de Havilland and Gable in Gone with the Wind (1939).
Around this time, she was criticized by members of the black community for the roles she accepted and for pursuing roles aggressively rather than rocking the Hollywood boat. For example, in The Little Colonel (1935), she played one of the black servants longing to return to the Old South, but her portrayal of Malena in RKO Pictures's Alice Adams angered white Southern audiences, because she stole several scenes from the film's white star, Katharine Hepburn. McDaniel ultimately became best known for playing a sassy and opinionated maid.
Gone with the Wind[edit]
The competition to win the part of Mammy in Gone with the Wind was almost as fierce as that for Scarlett O'Hara. First Lady Eleanor Roosevelt wrote to film producer David O. Selznick to ask that her own maid, Elizabeth McDuffie, be given the part.[9] McDaniel did not think she would be chosen because she had earned her reputation as a comic actress. One source claimed that Clark Gable recommended that the role be given to McDaniel; in any case, she went to her audition dressed in an authentic maid's uniform and won the part.[10]
Upon hearing of the planned film adaptation, the NAACP fought hard to require the film's producer and director to delete racial epithets from the movie (in particular the offensive slur "nigger") and to alter scenes that might be incendiary and that, in their view, were historically inaccurate. Of particular concern was a scene from the novel in which black men attack Scarlett O'Hara, after which the Ku Klux Klan, with its long history of provoking terror on black communities, is presented as a savior.[11] Throughout the South, black men were being lynched based upon false allegations they had harmed white women. That attack scene was altered, and some offensive language was modified, but another epithet, "darkie", remained in the film, and the film's message with respect to slavery remained essentially the same. Consistent with the book, the film's screenplay also referred to poor whites as "white trash", and it ascribed these words equally to characters black and white.[12]
Loew's Grand Theater on Peachtree Street in Atlanta, Georgia was selected by the studio as the site for the Friday, December 15, 1939 premiere of Gone with the Wind. Studio head David Selznick asked that McDaniel be permitted to attend, but MGM advised him not to, because of Georgia's segregation laws. Clark Gable threatened to boycott the Atlanta premiere unless McDaniel were allowed to attend, but McDaniel convinced him to attend anyway.[13]
Most of Atlanta's 300,000 citizens crowded the route of the seven-mile (11 km) motorcade that carried the film's other stars and executives from the airport to the Georgian Terrace Hotel, where they stayed.[14][15] While Jim Crow laws kept McDaniel from the Atlanta premiere, she did attend the film's Hollywood debut on December 28, 1939. Upon Selznick's insistence, her picture was also featured prominently in the program.[16]
For her performance as the house slave who repeatedly scolds her owner's daughter, Scarlett O'Hara (Vivien Leigh), and scoffs at Rhett Butler (Clark Gable), McDaniel won the 1939 Academy Award for Best Supporting Actress, the first black American to win an Oscar. She was the first black American to have been nominated. "I loved Mammy," McDaniel said when speaking to the white press about the character. "I think I understood her because my own grandmother worked on a plantation not unlike Tara."[17] Her role in Gone with the Wind had alarmed some whites in the South; there were complaints that in the film she had been too "familiar" with her white owners.[18] At least one writer pointed out that McDaniel's character did not significantly depart from Mammy's persona in Margaret Mitchell's novel, and that in both the film and the book, the much younger Scarlett speaks to Mammy in ways that would be deemed inappropriate for a Southern teenager of that era to speak to a much older white person, and that neither the book nor the film hints of the existence of Mammy's own children (dead or alive), her own family (dead or alive), a real name, or her desires to have anything other than a life at Tara, serving on a slave plantation.[19] Moreover, while Mammy scolds the younger Scarlett, she never crosses Mrs. O'Hara, the more senior white woman in the household.[19] Some critics felt that McDaniel not only accepted the roles but also in her statements to the press acquiesced in Hollywood's stereotypes, providing fuel for critics of those who were fighting for black civil rights.[19] Later, when McDaniel tried to take her "Mammy" character on a road show, black audiences did not prove receptive.[20]
While many blacks were happy over McDaniel's personal victory, they also viewed it as bittersweet. They believed Gone With the Wind celebrated the slave system and condemned the forces that destroyed it.[21] For them, the unique accolade McDaniel had won suggested that only those who did not protest Hollywood's systemic use of racial stereotypes could find work and success there.[21]
1940 Academy Awards[edit]
The Twelfth Academy Awards took place at the Coconut Grove Restaurant of the Ambassador Hotel in Los Angeles. It was preceded by a banquet in the same room. Louella Parsons, an American gossip columnist, wrote about Oscar night, February 29, 1940:
Hattie McDaniel earned that gold Oscar by her fine performance of 'Mammy' in Gone with the Wind. If you had seen her face when she walked up to the platform and took the gold trophy, you would have had the choke in your voice that all of us had when Hattie, hair trimmed with gardenias, face alight, and dress up to the queen's taste, accepted the honor in one of the finest speeches ever given on the Academy floor.
Academy of Motion Picture Arts and Sciences, fellow members of the motion picture industry and honored guests: This is one of the happiest moments of my life, and I want to thank each one of you who had a part in selecting me for one of their awards, for your kindness. It has made me feel very, very humble; and I shall always hold it as a beacon for anything that I may be able to do in the future. I sincerely hope I shall always be a credit to my race and to the motion picture industry. My heart is too full to tell you just how I feel, and may I say thank you and God bless you.[22][23]
—  From McDaniel's acceptance speech, 12th Annual Academy Awards, February 29, 1940
McDaniel received a plaque-style Oscar, approximately 5.5 inches (14 cm) by 6 inches (15 cm), the type awarded to all Best Supporting Actors and Actresses at that time.[24] She and her escort were required to sit at a segregated table for two at the far wall of the room; her white agent, William Meiklejohn, sat at the same table. The hotel had a strict no-blacks policy, but allowed McDaniel in as a favor.[25][26]
Gone with the Wind won eight Academy Awards. It was later named by the American Film Institute (AFI) as number four among the top 100 American films of all time in the 1998 ranking and number six in the 2007 ranking.[27]
Later career[edit]
In the 1942 Warner Bros. film In This Our Life, starring Bette Davis and directed by John Huston, McDaniel once again played a domestic, but one who confronts racial issues when her son, a law student, is wrongly accused of manslaughter.
The following year, McDaniel was in Warner Bros' Thank Your Lucky Stars, with Humphrey Bogart and Bette Davis. In its review of the film, Time wrote that McDaniel was comic relief in an otherwise "grim study," writing, "Hattie McDaniel, whose bubbling, blaring good humor more than redeems the roaring bad taste of a Harlem number called Ice Cold Katie".[28]
McDaniel continued to play maids during the war years, in Warner Bros' The Male Animal (1942) and United Artists' Since You Went Away (1944), but her feistiness was toned down to reflect the era's somber news.
She also played the maid in Song of the South.
McDaniel as Beulah 1951, the year before her death
She made her last film appearances in Mickey (1948) and Family Honeymoon (1949), where that same year, she appeared on the live CBS television program The Ed Wynn Show. She remained active on radio and television in her final years, becoming the first black American to star in her own radio show with the comedy series Beulah. She also starred in the ABC television version of the show, replacing Ethel Waters after the first season. (Waters had apparently expressed concerns over stereotypes in the role.) Beulah was a hit, however, and earned McDaniel $2,000 a week. But the show was controversial. In 1951, the United States Army ceased broadcasting Beulah in Asia because troops complained that the show perpetuated negative stereotypes of black men as shiftless and lazy and interfered with the ability of black troops to perform their mission.[29] After filming a handful of episodes, however, McDaniel learned she had breast cancer. By the spring of 1952, she was too ill to work and was replaced by Louise Beavers.[30]
Legal case: Victory on "Sugar Hill"[edit]
McDaniel was the most famous of the black homeowners who helped to organize the black West Adams neighborhood residents who saved their homes. Loren Miller, an attorney and the owner and publisher of the California Eagle newspaper, represented the minority homeowners in their restrictive covenant case.[31] In 1944, Miller won the case Fairchild v Rainers, a decision in favor of a black family in Pasadena, California, who had bought a nonrestricted lot but was sued by white neighbors anyway.
Time magazine, in its issue of December 17, 1945, reported that:
Spacious, well-kept West Adams Heights still had the complacent look of the days when most of Los Angeles' aristocracy lived there....
In 1938, Negroes, willing and able to pay $15,000 and up for Heights property, had begun moving into the old eclectic mansions. Many were movie folk — Actresses Louise Beavers, Hattie McDaniel, Ethel Waters, etc. They improved their holdings, kept their well-defined ways, quickly won more than tolerance from most of their white neighbors.
But some whites, refusing to be comforted, had referred to the original racial restriction covenant that came with the development of West Adams Heights back in 1902 which restricted "Non-caucasians" from owning property. For seven years they had tried to enforce it, but failed. Then they went to court....
Superior Judge Thurmond Clarke decided to visit the disputed ground—popularly known as "Sugar Hill." ... Next morning, ... Judge Clarke threw the case out of court. His reason: "It is time that members of the Negro race are accorded, without reservations or evasions, the full rights guaranteed them under the 14th Amendment to the Federal Constitution. Judges have been avoiding the real issue too long."
Said Hattie McDaniel, of West Adams Heights: "Words cannot express my appreciation."[32]
McDaniel had purchased her white, two-story, seventeen-room house in 1942. The house included a large living room, dining room, drawing room, den, butler's pantry, kitchen, service porch, library, four bedrooms and a basement. McDaniel had a yearly Hollywood party. Everyone knew that the king of Hollywood, Clark Gable, could always be found at McDaniel's parties.[33]
Controversy over roles[edit]
As her fame grew, McDaniel faced growing criticism from some members of the black community. Groups such as the NAACP complained that Hollywood stereotypes not only restricted blacks to servant roles but often portrayed blacks as lazy, dim-witted, satisfied with lowly positions, or violent. In addition to addressing the studios, they called upon actors, and especially leading black actors, to pressure studios to offer more substantive roles and at least not pander to stereotypes. They also argued that these portrayals were unfair as well as inaccurate and that, coupled with segregation and other forms of discrimination, such stereotypes were making it difficult for all blacks, not only actors, to overcome racism and succeed in the entertainment industry.[34] Some attacked McDaniel for being an "Uncle Tom"—a person willing to advance personally by perpetuating racial stereotypes or being an agreeable agent of offensive racial restrictions.[35] McDaniel characterized these challenges as class-based biases against domestics, a claim that white columnists seemed to accept. And she reportedly said, "Why should I complain about making $700 a week playing a maid? If I didn't, I'd be making $7 a week being one."[36]
McDaniel may also have been criticized because, unlike many other black entertainers, she was not associated with civil rights protests and was largely absent from efforts to establish a commercial base for independent black films. She did not join the Negro Actors Guild of America until 1947, late in her career.[37] McDaniel hired one of the few white agents who would represent black actors in those days, William Meiklejohn, to advance her career.[38] Evidence suggests her avoidance of political controversy was deliberate. When columnist Hedda Hopper sent her Richard Nixon placards and asked McDaniel to distribute them, McDaniel declined, replying she had long ago decided to stay out of politics. "Beulah is everybody's friend," she said.[37] Since she was earning a living honestly, she added, she should not be criticized for accepting such work as was offered. Her critics, especially Walter White of the NAACP, claimed that she and other actors who agreed to portray stereotypes were not a neutral force but rather willing agents of black oppression.
McDaniel and other black actresses and actors feared that their roles would evaporate if the NAACP and other Hollywood critics complained too loudly.[39] She blamed these critics for hindering her career and sought the help of allies of doubtful reputation. After speaking with McDaniel, Hedda Hopper even claimed that McDaniel's career troubles were not the result of racism but had been caused by McDaniel's "own people".[40]
Community service[edit]
McDaniel leading entertainers and hostesses to Minter Field for a performance and dance for World War II soldiers
During World War II, she served as chairman of the Negro Division of the Hollywood Victory Committee, providing entertainment for soldiers stationed at military bases. (The military was segregated, and black entertainers were not allowed to serve on white entertainment committees.) She elicited the help of a friend, the actor Leigh Whipper, and other black entertainers for her committee. She made numerous personal appearances at military hospitals, threw parties, and performed at United Service Organizations (USO) shows and war bond rallies to raise funds to support the war on behalf of the Victory Committee.[41][42] Bette Davis was the only white member of McDaniel's acting troupe to perform for black regiments; Lena Horne and Ethel Waters also participated.[43] McDaniel was also a member of American Women's Voluntary Services.[44]
She joined the actor Clarence Muse, one of the first black members of the Screen Actors Guild, in an NBC radio broadcast to raise funds for Red Cross relief programs for Americans that had been displaced by devastating floods, and she gained a reputation for generosity, lending money to friends and strangers alike.[45]
Marriages[edit]
McDaniel married Howard Hickman at age 15 on January 19, 1911, in Denver, Colorado. He died in 1915.
Her second husband, George Langford, died of a gunshot wound in January 1925, soon after she married him and while her career was on the rise.
She married James Lloyd Crawford, a real estate salesman, on March 21, 1941, in Tucson, Arizona. According to Donald Bogle, in his book Bright Boulevards, Bold Dreams, McDaniel happily confided to gossip columnist Hedda Hopper in 1945 that she was pregnant. McDaniel began buying baby clothes and set up a nursery in her house. Her plans were shattered when she suffered a false pregnancy and fell into a depression. She never had any children. She divorced Crawford in 1945, after four and a half years of marriage. Crawford had been jealous of her career success, she said, and once threatened to kill her.[46]
She married Larry Williams, an interior decorator, on June 11, 1949, in Yuma, Arizona, but divorced him in 1950 after testifying that their five months together had been marred by "arguing and fussing." McDaniel broke down in tears when she testified that her husband tried to provoke dissension in the cast of her radio show and otherwise interfered with her work. "I haven't gotten over it yet," she said. "I got so I couldn't sleep. I couldn't concentrate on my lines."[47][48]
Death[edit]
Cenotaph at Hollywood Forever Cemetery
Grave of McDaniel at Angelus Rosedale Cemetery
In August, 1950, McDaniel suffered a heart ailment and entered Temple Hospital in semi-critical condition. She was released in October to recuperate at home, and she was cited by United Press on Jan. 3, 1951, as showing "slight improvement in her recovery from a mild stroke."
McDaniel died of breast cancer at age 57 on October 26, 1952, in the hospital on the grounds of the Motion Picture House in Woodland Hills, California. She was survived by her brother Sam McDaniel. Thousands of mourners turned out to celebrate her life and achievements. In her will, McDaniel wrote, "I desire a white casket and a white shroud; white gardenias in my hair and in my hands, together with a white gardenia blanket and a pillow of red roses. I also wish to be buried in the Hollywood Cemetery";[49] Hollywood Cemetery, on Santa Monica Boulevard in Hollywood, is the resting place of movie stars such as Douglas Fairbanks and Rudolph Valentino. Its owner at the time, Jules Roth, refused to allow her to be buried there, because, at the time of McDaniel's death, the cemetery practiced racial segregation and would not accept the remains of black people for burial. Her second choice was Rosedale Cemetery (now known as Angelus-Rosedale Cemetery), where she lies today.[50]
In 1999, Tyler Cassidy, the new owner of the Hollywood Cemetery (renamed the Hollywood Forever Cemetery), offered to have McDaniel re-interred there. Her family did not wish to disturb her remains and declined the offer. Instead, Hollywood Forever Cemetery built a large cenotaph on the lawn overlooking its lake. It is one of Hollywood's most popular tourist attractions.[51]
McDaniel's last will and testament of December 1951 bequeathed her Oscar to Howard University, where she had been honored by the students with a luncheon after she had won her Oscar.[52] At the time of her death, McDaniel would have had few options. Very few white institutions in that day preserved black history. Historically, black colleges had been where such artifacts were placed.[53] Despite evidence McDaniel had earned an excellent income as an actress, her final estate was less than $10,000. The IRS claimed the estate owed more than $11,000 in taxes. In the end, the probate court ordered all of her property, including her Oscar, sold to pay off creditors.[54] Years later, the Oscar turned up where McDaniel wanted it to be: Howard University, where, according to reports, it was displayed in a glass case in the university's drama department.[55]
Whereabouts of the McDaniel Oscar[edit]
The whereabouts of McDaniel's Oscar are currently unknown.[56] In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s.[57] In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard.[58] In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s.[59] The assertion reappeared in the Huffington Post under the same byline in 2009.
In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to".[60] Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s.[61]
In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate.[62] Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks.[62] She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time.[62] The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers.[62] If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque.[62]
Legacy and recognition[edit]
Star on Hollywood Walk of Fame for contributions to radio at 6933 Hollywood Boulevard.
McDaniel has two stars on the Hollywood Walk of Fame in Hollywood: one at 6933 Hollywood Boulevard for her contributions to radio and one at 1719 Vine Street for motion pictures.[63] In 1975, she was inducted posthumously into the Black Filmmakers Hall of Fame.[64]
In 1994, the actress and singer Karla Burns launched her one-woman show Hi-Hat-Hattie (written by Larry Parr), about McDaniel's life. Burns went on to perform the role in several other cities through 2002, including Off-Broadway and the Long Beach Playhouse Studio Theatre in California.[65]
In 2002, McDaniel's legacy was celebrated in American Movie Classics's (AMC) film Beyond Tara, The Extraordinary Life of Hattie McDaniel (2001), produced and directed by Madison D. Lacy and hosted by Whoopi Goldberg. This one-hour special depicted McDaniel's struggles and triumphs in the presence of rampant racism and brutal adversity. The film won the 2001–2002 Daytime Emmy Award, presented on May 17, 2002, for Outstanding Special Class Special.[66]
McDaniel was the 29th inductee in the Black Heritage Series by the United States Postal Service. Her 39-cent stamp was released on January 29, 2006, featuring a 1941 photograph of McDaniel in the dress she wore to accept the Academy Award in 1940.[67][68] The ceremony took place at the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences, where the Hattie McDaniel collection includes photographs of McDaniel and other family members as well as scripts and other documents.[36]
In 2004 Rita Dove, the first African-American U.S. poet laureate, published her poem "Hattie McDaniel Arrives at the Coconut Grove" in The New Yorker [69] and has since presented it frequently during her poetry readings as well as on YouTube.[70]
The American rapper Nas pays tribute to McDaniel in his song "Blunt Ashes," from his eighth studio album, released December 15, 2006.
"Hattie McDaniel Day" was celebrated on August 16, 2011, by the national GLBT radio station OutQ (Sirius XM) on the Frank Decaro Show.
Kevin John Goff, McDaniel's great-grandnephew, is currently developing a series of components on McDaniel's life.
The actress Mo'Nique paid homage to Miss McDaniel when accepting her Best Supporting Actress Academy Award for Precious.
Filmography[edit]
Features[edit]
Love Bound (1932)
Impatient Maiden (1932) as Injured Patient (uncredited)
Are You Listening? (1932) as Aunt Fatima - Singer (uncredited)
The Washington Masquerade (1932) as Maid (uncredited)
The Boiling Point (1932) as Caroline the Cook (uncredited)
Crooner (1932) as Maid in Ladies' Room (uncredited)
Blonde Venus (1932) as Cora, Helen's Maid in New Orleans (uncredited)
The Golden West (1932) as Mammy Lou (uncredited)
Hypnotized (1932) as Powder Room Attendant (uncredited)
Hello, Sister (1933) as Woman in Apartment House (uncredited)
I'm No Angel (1933) as Tira's Maid-Manicurist (uncredited)
Goodbye Love (1933) as Edna the Maid (uncredited)
Merry Wives of Reno (1934) as Bunny's Maid (uncredited)
City Park (1934) as Tessie - the Ransome Maid (uncredited)
Operator 13 (1934) as Annie (uncredited)
King Kelly of the U.S.A. (1934) as Black Narcissus Mop Buyer (uncredited)
Judge Priest (1934) as Aunt Dilsey
Imitation of Life (1934) as Woman at Funeral (uncredited)
Flirtation (1934) as Minor Role (uncredited)
Lost in the Stratosphere (1934) as Ida Johnson
Babbitt (1934) as Rosalie, the Maid (uncredited)
Little Men (1934) as Asia (uncredited)
The Little Colonel (1935) as Mom Beck
Transient Lady (1935) as Servant (uncredited)
Traveling Saleslady (1935) as Martha Smith (uncredited)
China Seas (1935) as Isabel McCarthy, Dolly's Maid (uncredited)
Alice Adams (1935) as Malena Burns
Harmony Lane (1935) as Liza, the Cook (uncredited)
Murder by Television (1935) as Isabella - the Cook
Music Is Magic (1935) as Hattie
Another Face (1935) as Nellie - Sheila's Maid (uncredited)
We're Only Human (1935) as Molly, Martin's Maid (uncredited)
Next Time We Love (1936) as Hanna (uncredited)
The First Baby (1936) as Dora
The Singing Kid (1936) as Maid (uncredited)
Gentle Julia (1936) as Kitty Silvers
Show Boat (1936) as Queenie
High Tension (1936) as Hattie
The Bride Walks Out (1936) as Mamie - Carolyn's Maid
Postal Inspector (1936) as Deborah (uncredited)
Star for a Night (1936) as Hattie
Valiant Is the Word for Carrie (1936) as Ellen Belle
Libeled Lady (1936) as Maid in Grand Plaza Hall (uncredited)
Can This Be Dixie? (1936) as Lizzie
Reunion (1936) as Sadie
Racing Lady (1937) as Abby
Don't Tell the Wife (1937) as Mamie, Nancy's Maid (uncredited)
The Crime Nobody Saw (1937) as Ambrosia
The Wildcatter (1937) as Pearl (uncredited)
Saratoga (1937) as Rosetta
Stella Dallas (1937) as Maid
Sky Racket (1937) as Jenny
Over the Goal (1937) as Hannah
Merry Go Round of 1938 (1937) as Maid (uncredited)
Nothing Sacred (1937) as Mrs. Walker (uncredited)
45 Fathers (1937) as Beulah
Quick Money (1937) as Hattie (uncredited)
True Confession (1937) as Ella
Mississippi Moods (1937)
Battle of Broadway (1938) as Agatha
Vivacious Lady (1938) as Hattie - Maid at Prom Dance (uncredited)
The Shopworn Angel (1938) as Martha
Carefree (1938) as Hattie (uncredited)
The Mad Miss Manton (1938) as Hilda
The Shining Hour (1938) as Belvedere
Everybody's Baby (1939) as Hattie
Zenobia (1939) as Dehlia
Gone with the Wind (1939) as Mammy - House Servant
Maryland (1940) as Aunt Carrie
The Great Lie (1941) as Violet
Affectionately Yours (1941) as Cynthia
They Died with Their Boots On (1941) as Callie
The Male Animal (1942) as Cleota
In This Our Life (1942) as Minerva Clay
George Washington Slept Here (1942) as Hester, the Fullers' Maid
Johnny Come Lately (1943) as Aida
Thank Your Lucky Stars (1943) as Gossip in 'Ice Cold Katie' Number
Since You Went Away (1944) as Fidelia
Janie (1944) as April - Conway's Maid
Three Is a Family (1944) as Maid
Hi, Beautiful (1944) as Millie
Janie Gets Married (1946) as April
Margie (1946) as Cynthia
Never Say Goodbye (1946) as Cozie
Song of the South (1946) as Aunt Tempy
The Flame (1947) as Celia
Mickey (1948) as Bertha
Family Honeymoon (1948) as Phyllis
The Big Wheel (1949) as Minnie
Short subjects[edit]
Mickey's Rescue (1934) as Maid (uncredited)
Fate's Fathead (1934) as Mandy - the Maid (uncredited)
The Chases of Pimple Street (1934) as Hattie, Gertrude's Maid (uncredited)
Anniversary Trouble (1935) as Mandy, the Maid
Okay Toots! (1935) as Hattie - the Maid (uncredited)
Wig-Wag (1935) as Cook (uncredited)
The Four Star Boarder (1935) as Maid (uncredited)
Arbor Day (1936) as Buckwheat's Mother
Termites of 1938 (1938)
Radio appearances[edit]
Year
Program
Episode/source
1941 Gulf Screen Guild Theatre No Time for Comedy[71]
Station KOA, Denver, Melony Hounds (1926)
Station KNX, Los Angeles, The Optimistic Do-Nut Hour (1931)
CBS Network, The Beulah Show (1947).
McDaniel was a semi-regular on the radio program Amos 'n' Andy, first as Andy's demanding landlady. In one episode they nearly marry. Andy was out for her money, aided and abetted by the Kingfish, who gives his wife's diamond ring to present to McDaniel as an engagement ring. The scheme blows up in their faces when Sapphire decides to throw a party to celebrate. Andy desperately tries to conceal the ring from Sapphire. In frustration and growing anger, McDaniel says to Andy, "Andy, sweetheart, darlin'. Is you gonna let go of my hand or does I have to pop you??!!" This episode aired on NBC in June 1944. She played a similar character, "Sadie Simpson", in several later episodes.
Discography[edit]
Hattie McDaniel recorded infrequently as a singer. In addition to the musical numbers over her long career in films, she recorded for Okeh Records, Paramount, and the small Kansas City, Missouri label Merrit. All of her known recordings (some of which were never issued) were recorded in the 1920s.
Label
Title
Recorded
Format
Catalogue No.
Merrit Records "Brown-Skinned Baby Doll" / "Quittin' My Man" 06/26 Unissued Merrit 2202
Okeh Records "I Wish I Had Somebody" /" Boo Hoo Blues" 11/10/26 78 rpm Okeh 9899/9900
"Wonderful Dream/ "Lonely Heart" 11/17/26 Unissued Okeh W80845/W80846
"Sam Henry Blues" / "Poor Boy Blues" 05/10/27 Unissued Okeh W80852/W80853
"I Thought I'd Do It" / "Just One Sorrowing Heart" 12/14/27 78 rpm Okeh W82061/W82062
"Sam Henry Blues" / "Destroyin Blues" 12/14/27 Unissued Okeh W82063/W82064
Paramount Records "Dentist Chair Blues Part 1" / "Dentist Chair Blues Part 2" (with Papa Charlie Jackson) 03/??/29 78 rpm Paramount 12751 A/12751 B
"That New Love Maker Of Mine" / "Any Kind Of Man Would Be Better Than You" 03/??/29 78 rpm Paramount 17290
See also[edit]
List of African-American firsts
List of black Academy Award winners and nominees
List of stars on the Hollywood Walk of Fame
African Americans portal
Biography portal
Film in the United States portal
References[edit]
Notes
Jump up ^ "Hattie McDaniel Biography". MTV. Retrieved 2010-04-21.
Jump up ^ Jackson, Carlton. Hattie: The Life of Hattie McDaniel, Lanham, Maryland: Madison Books, 1990. ISBN 1-56833-004-9
Jump up ^ "Hattie Mcdaniel". Blackclassicmovies.com. Retrieved 14 April 2013.
Jump up ^ "Hattie McDaniel, First African American to Win an Academy Award, Featured on New 39-Cent Postage Stamp" Archived 2008-07-07 at the Wayback Machine., press release, US Postal Service, January 25, 2006.
Jump up ^ Jackson, Carlton. Hattie: The Life of Hattie McDaniel, p. 4.
Jump up ^ Lyman, Darryl (2005). Great African American Women. Jonathan David. ISBN 0-8246-0459-8.
Jump up ^ Laird, Ross (2004). Discography of Okeh Records, 1918–1934. Praeger/Greenwood. pp. 392, 446. ISBN 0-313-31142-0.
Jump up ^ Bogdanov, Vladimir (2003).All Music Guide to the Blues: The Definitive Guide to the Blues. Backbeat Books. p. 274. ISBN 0-87930-736-6.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood. Harper Collins. p. 151.
Jump up ^ Harris, Warren G. (2002). Clark Gable: A Biography. Harmony. p. 203. ISBN 0-307-23714-1.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood. pp. 152–171. ISBN 0-06-051490-6.
Jump up ^ W. Burlette Carter. "Finding the Oscar". p. 114, n. 40.
Jump up ^ Harris, ibid., p. 211.
Jump up ^ Time Magazine: "Gone with the Wind Premiere", Monday, December 25, 1939.
Jump up ^ Bridges, Herb (1999). Gone with the Wind: The Three-day Premiere in Atlanta. Mercer University Press. ISBN 0-86554-672-X.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood. p. 172. ISBN 0-06-051490-6.
Jump up ^ Lyman, Darryl (2005). Great African American Women. Jonathan David. p. 161. ISBN 0-8246-0459-8.
Jump up ^ Lotchin, Roger W. (1999). The Way We Really Were: The Golden State in the Second Great War. University of Illinois Press. p. 36. ISBN 0-252-06819-X.
^ Jump up to: a b c W. Burlette Carter. "Finding the Oscar", p. 114, n. 40, p. 115, n. 47.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood. pp. 188–190. ISBN 0-06-051490-6.
^ Jump up to: a b W. B. Carter, "Finding the Oscar", pp. 199–20, n. 40.
Jump up ^ See and hear Hattie McDaniel acceptance speech at the end of this video.
Jump up ^ Jackson, Carlton. Hattie: The Life of Hattie McDaniel, p. 52.
Jump up ^ W. Burlette Carter, "Finding the Oscar", p. 109, n. 08.
Jump up ^ Abramovitch, Seth (19 February 2015). "Oscar's First Black Winner Accepted Her Honor in a Segregated 'No Blacks' Hotel in L.A." The Hollywood Reporter. Retrieved 31 January 2017.
Jump up ^ W. Burlette Carter. "Finding the Oscar". pp. 115–16, citing photograph of guests at 12th Academy of Motion Picture Arts & Sciences Awards banquet (1939), Margaret Herrick Library, Special Collections
Jump up ^ "American Film Institute". Connect.afi.com. Archived from the original on 2012-04-03. Retrieved 2010-04-21.
Jump up ^ Time, "Review: Thank Your Lucky Stars (Warner)", Monday, October 4, 1943.
Jump up ^ Smith, Milton A. (1951). "Offensive to GIs, Banned: Army Drops 'Beulah' Show Taken Off Air After Fighters Complain". Baltimore Afro-American. February 17, 1951, at 1.
Jump up ^ Three of McDaniel's episodes are readily available on videocassette and on the Internet.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood. p. 328.
Jump up ^ Time magazine, "Victory on Sugar Hill", Monday, December 17, 1945.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood, p. 212.
Jump up ^ W. Burlette Carter, "Finding the Oscar", pp. 122–23.
Jump up ^ W. Burlette Carter, "Finding the Oscar", p. 117, n. 67, citing "No Hope for the Negro in Films, Says Writer, As Long As Hattie McDaniel 'Toms'", Cleveland Gazette, February 17, 1945, p. 9.
^ Jump up to: a b CBSNEWS.com: First black Oscar winner honored with stamp, Thursday, January 26, 2006. Archived May 14, 2008, at the Wayback Machine.
^ Jump up to: a b W. Burlette Carter, "Finding the Oscar", p. 123.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood. p. 129.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood. pp. 226–227.
Jump up ^ Hedda Hopper, Screen and Stage: Own People Slow Hattie McDaniel Up, L.A. Times, December 14, 1947, at H3.
Jump up ^ "Hattie McDaniel and the Negro Division of the Hollywood Victory Committee". Cghs.dade.k12.fl.us. Archived from the original on 2010-12-09. Retrieved 2010-04-21.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood. p. 210.
Jump up ^ Spada, James (1993). More Than a Woman: An Intimate Biography of Bette Davis. Little, Brown. pp. 191–192. ISBN 0-553-56868-X.
Jump up ^ "Network and Local Radio Listings". The Sunday Sun. 4 Jan 1942. Retrieved 8 Jan 2011.
Jump up ^ Watts, Jill (2005). Hattie McDaniel: Black Ambition, White Hollywood. p. 126.
Jump up ^ Monday, December 31, 1945 (1945-12-31). "Time Magazine article, Monday, December 31, 1945". Time.com. Retrieved 2010-04-21. CS1 maint: Multiple names: authors list (link)
Jump up ^ Time magazine article, Monday, December 18, 1950.
Jump up ^ Long Beach Press-Telegram, Long Beach, California, Wednesday, December 6, 1950.
Jump up ^ Associated Press, First black to win Oscar to get part of final wish, The Frederick Post, Frederick, Maryland, Monday, October 25, 1999.
Jump up ^ Wilson, Scott. Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3d ed.: 2 (Kindle Location 31275). McFarland & Company, Inc., Publishers. Kindle Edition.
Jump up ^ "The Memorial to Actress Hattie McDaniel at Hollywood Forever Memorial Park". Cemeteryguide.com. 1952-10-24. Retrieved 2010-04-21.
Jump up ^ "And Hattie McDaniel's Oscar went to .... ? 1940 prize, Howard U. play roles in mystery". Washington Post, May 26, 2010.
Jump up ^ W. Burlette Carter, "Finding the Oscar", pp. 136–37.
Jump up ^ W. Burlette Carter, "Finding the Oscar", p. 129.
Jump up ^ W. Burlette Carter, "Finding the Oscar", p. 139.
Jump up ^ "Hattie McDaniel Oscar Plaque Missing".
Jump up ^ W. Burlette Carter, "Finding the Oscar", p. 109, n. 10, citing "Howard University Can't Find McDaniel Oscar," Jet, May 4, 1992, p. 24.
Jump up ^ W. Burlette Carter, "Finding the Oscar", p. 109, n. 10, citing "Hattie McDaniel's Academy Award Is Lost," Jet, April 13, 1998, p. 33.
Jump up ^ Tom Gregory, "Oscar Time for Hattie McDaniel", The Huffington Post.
Jump up ^ "The Flower in Mo'Nique's Hair: Hattie McDaniel Tribute". jezebel. Retrieved 28 December 2012.
Jump up ^ Freedom du Lac, J. (May 26, 2010). "And Hattie McDaniel's Oscar Went to .... ? 1940 Prize, Howard U. Play Roles in Mystery". Washington Post. Retrieved 28 December 2012.
^ Jump up to: a b c d e Burlette Carter, W. (2011). "Finding the Oscar". Howard Law Journal. pp. 107–171.
Jump up ^ "Gone with the Wind: Hollywood Walk of Fame Stars". Destinationhollywood.com. Retrieved 2010-04-21.
Jump up ^ Ferguson, Carroy U. (2004).Transitions in Consciousness from an African American Perspective. Lanham, Maryland: University Press of America. p. 243. ISBN 0-7618-2700-5.
Jump up ^ "Karla Burns: Broadway to Vegas, May 30, 2004". Broadwaytovegas.com. Retrieved 2010-04-21. [dead link]
Jump up ^ "2001–2002 Daytime Emmy Awards". Infoplease.com. 2002-05-17. Retrieved 2010-04-21.
Jump up ^ "Hattie McDaniel, First African American to Win an Academy Award, Featured on New 39-cent Postage Stamp" (Press release). United States Postal Service. 2006-01-25. Archived from the original on 2008-07-07. Retrieved 2008-07-09. Hattie McDaniel, movie actress, singer, radio and television personality, and the first African American to win an Academy Award today became the 29th honoree in the U.S. Postal Service's long-running Black Heritage commemorative stamp series
Jump up ^ Gickerr, William J. (ed.) (2006). "Hattie McDaniel 39¢". USA Philatelic (print). 11 (3): 12. CS1 maint: Extra text: authors list (link)
Jump up ^ "Hattie McDaniel Arrives at the Coconut Grove". Newyorker.com. Retrieved 10 July 2018.
Jump up ^ forsicht (26 February 2012). "Hattie McDaniel Arrives at the Coconut Grove". YouTube. Retrieved 10 July 2018.
Jump up ^ "Abel, Walter". radioGOLDINdex. Retrieved 26 May 2015.
Bibliography
The Life and Struggles of Hattie McDaniel (author Jill Watts audio interview), hear the voice of Hattie McDaniel
Carter, W. B. (2011). "Finding the Oscar". Howard Law Journal. 55 (1): 107. SSRN 1980721  .
Hopper, Hedda. "Hattie Hates Nobody". Chicago Sunday Tribune, 1947.
Jackson, Carlton. Hattie: The Life of Hattie McDaniel. Lanham, MD: Madison Books, 1990. ISBN 1-56833-004-9
Mitchell, Lisa. "More Than a Mammy". Hollywood Studio Magazine, April 1979.
Salamon, Julie. "The Courage to Rise Above Mammyness". New York Times, August 6, 2001.
Watts, Jill. Hattie McDaniel: Black Ambition, White Hollywood. New York, NY: HarperCollins, 2005. ISBN 0-06-051490-6
Young, Al. "I'd Rather Play a Maid Than Be One". New York Times, October 15, 1989.
Zeigler, Ronny. "Hattie McDaniel: '(I'd)... rather play a maid.'" N.Y. Amsterdam News, April 28, 1979.
Access Newspaper Archive – search for "Hattie McDaniel"
External links[edit]
Hattie McDaniel on IMDb
Hattie McDaniel at Find a Grave
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WorldCat Identities
GND: 118909282
ISNI: 0000 0000 2497 1304
LCCN: n85151822
MusicBrainz: 037b0471-652d-4dc2-a464-a5051d5e1e29
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SUDOC: 066950988
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Hattie_McDaniel&oldid=849654489"
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