Charlotte E Ray and 143 years of progress

A modern illustration of how Charlotte E Ray might have looked when she graduated. She is a Black woman with a mortar board on a piled up hairdo. Text reads Charlotte E Ray becomes a lawyer 23 April 1872.

The first African-American woman to be Attorney General of the USA, Loretta Lynch, was appointed on 23 April 2015 in Washington DC. The very same day, 143 years earlier in 1872, Charlotte E Ray became the first African-American woman admitted to practice law in the USA.

Sometimes history throws up these little co-incidences. This one gives us the opportunity to look at two very different law careers available to a Black woman in the USA.

Charlotte E Ray – the first Black woman lawyer in the USA

Charlotte E Ray was born in 1850 in New York City. Her father was a clergyman, the editor of an abolitionist newspaper and someone involved in helping people who had escaped slavery through the Underground Railway. One of seven children, Charlotte was one of three girls who survived to adulthood. All three sisters attended college and became teachers.

Howard University is one of the historically Black colleges and universities that provided higher education at a time when Black students were barred from white universities. It had a Normal and Preparatory Department which helped potential undergraduates prepare for university by giving them the minimum level of achievement in reading and writing. Ray became a teacher in the department.

And it was whilst teaching there that Charlotte applied for, and was accepted into, Howard School of Law. It’s popularly suggested that she applied as C E Ray, using only her initials to obscure her sex. However, even the most contemporary records found to date are unclear on if this was a deliberate move or not.

Mary Ann Shadd Carey claimed to have studied law at Howard before Ray but to have been denied a graduation. Some historians suggest Ray used her initials to bypass similar discrimination. Ray studied law in the evenings, whilst still teaching by day, for three years. It seems unlikely she could have done so without someone noticing that the C E Ray law student was also Miss Charlotte E Ray from the prep department.

Whatever the reason for the use of initials, Ray was the first Black woman to graduate from Howard University’s School of Law in February 1872. She immediately applied to the bar in the District of Columbia.

Ray raises the bar

The bar is the line that separates spectators at a law court from those involved in the case. It comes from medieval Europe where it was literally a wooden bar across the space. Being “called to the bar” means being allowed to practise law in court.

In England and Wales, lawyers who wish to become barristers – that is to practice law in the courtroom – must belong to and study at one of the four Inns of Court. Women were only admitted to the Inns after the Sex Disqualification Removal Act in 1919. So no women were called to the bar in England and Wales until 1922.

In the USA, the bars are administered at a state level, with a bar association for each one. In the state of DC, back in 1872, the word ‘male’ had just been removed from the legal code so that women could be admitted.

Ray’s admission to the bar, whilst receiving press coverage, went through without debate. She opened her practice, advertised her services in Frederick Douglass’s newspaper, and…struggled. She could not drum up enough business to keep going. A near-contemporary lawyer, Kate Kane Rossi, put this down to prejudice. By 1879, she had returned to New York City and to teaching. She died in 1911.

Loretta Lynch – Attorney General of the USA

Loretta Lynch was born just over a century after Ray, in 1959, in North Carolina. Like Ray, her father was in the clergy. She graduated from Harvard, having studied English and American Literature, in 1981 before taking her law doctorate at Harvard Law School in 1984. Harvard Law School started admitting Black students in the 1870s but did not admit women until the 1950s.

After some time in private practice, Lynch joined the US Attorney’s office in 1990 and rose to became US Attorney for the Eastern District of New York. She was appointed as the Attorney General of the United States in 2015.

The Attorney General heads up the US Department of Justice. They’re also the chief law enforcement officer of the federal government and the principal advisor to the President. Whereas Ray’s admittance to the bar in 1872 passed with no record of contention, Lynch’s confirmation process took 166 days. She was quizzed on her involvement in high profile cases and on immigration policy. Her appointment ended when Donald Trump became US President on 20 January 2017.

What do these parallel stories, separated by over 140 years, tell us?

This year, 2024, Loretta Lynch delivered the Charlotte E Ray keynote speech on corporate law at Howard University and reflected on the parallels.

“[Ray] is the perfect inspiration, not just for this conference but for these times. And were she to be here today, I know she would rejoice at the many advancements in equality and opportunity that we have today, but there is so much within our world that she would still have recognized.”

Watch the whole keynote speech online.

Loretta Lynch providing the Charlotte E Ray keynote speech at Howard Law School on 7 February 2024

Ray’s admission to the DC bar was used by other women to make their case for admission across the United States. So whilst Ray’s career as a lawyer may have stalled in the economic downturn of the 1870s, her legacy is everywhere.

A photo of Charlotte E Ray

A note on the art used here. No photo of Charlotte E Ray exists. There’s a commonly used photo, which is actually of opera singer Marian Anderson. My doubts over the commonly used photo were that it showed a young woman with a shingle haircut. That’s a cut, similar to a bob, which only became common in the 1920s. Ten years after Ray’s death. Had she been alive, she’d have been in her 70s. It would be like using a photo of Clara Bow whilst saying it is Millicent Fawcett.

There’s a great piece debunking the misattributed photos (there are several others that people use) on fake history hunter’s blog. They highlight that using other Black women’s’ photos is not recognising them for their own achievements. We’ve followed their suggestion to use Baba Adelana’s recent artwork, along with the illustration that is of unknown origin.


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Sources

Charlotte E Ray: A Black Woman Lawyer by Tonya Michelle Osborne (2001). https://wlh-static.law.stanford.edu/papers/RayC-Osborne01.pdf

https://ndaajustice.medium.com/a-trailblazer-in-justice-the-pioneering-journey-of-charlotte-e-ray-381ba97f931c

https://www.justice.gov/ag/bio/attorney-general-loretta-e-lynch

https://www.bbc.co.uk/sounds/play/b05spk32

Hattie McDaniel and her Oscar

A black and white photo of Hattie McDaniel. She is a Black woman with hair tied back in a bun. Text reads 'Hattie McDaniel wins an Oscar - 29 February 1940"

On the leap day in 1940, Hattie McDaniel made history as the first person of colour to both attend the Oscars ceremony and to win one. Hattie McDaniel’s Oscar’s own history reflects her complicated place in history: side-lined by the White Hollywood establishment and challenged by radical Black activism.

One night in the Cocoanut Grove

The 1939 Academy of Motion Picture and Arts Awards, the Oscars, was held in the Cocoanut Grove nightclub of the Ambassador Hotel in Los Angeles on 29 February 1940.

The Cocoanut Grove was one of the places to be in Hollywood at the time: Marion Davies allegedly rode a white horse through the hotel lobby to get to a costume party there. It was spoofed in a Merrie Melodies cartoon, The CooCoo Nut Grove (1936, dir. Freleng).  If you think the modern maximalist interior design style is a bit bling then the Grove makes it look austere. They had salvaged papier-mâché palm trees from the 1921 Valentino film The Sheik. They had life-sized mechanical monkeys with glowing eyes lurking in the trees. They had a running waterfall, lit by an artificial moon.

And they had racial segregation. No Black people were allowed to patronise the Grove or the wider hotel.

The audience applauded McDaniel as she walked into the Grove for the Oscars. Then she was escorted to a small table at the back, set apart from the rest of the attendees. This was the hotel’s concession. Gone With the Wind producer David O. Selznick  had wrangled this seating arrangement from the hotel when McDaniel was nominated – at his suggestion – for Best Supporting Actress. She and her plus one, Ferdinand Yober, could attend but could not sit with the rest of the party.

This is the context for the rather patronising presentation by Fay Bainter, and McDaniel’s acceptance speech.

After applauding her win, the rest of the Gone With the Wind group went to an after-party. In another Whites-only club.

The whole evening was an illustration of the racism McDaniel faced every day in her chosen career. But her approach to surviving in a racist culture drew criticism from Black audiences and activists.

The double-bind of McDaniel’s career

“Despite her success, to many in white America, their beloved “Hattie,” was beloved because she did not rock the Hollywood racial boat.”

W Burlette Carter, Finding the Oscar

McDaniel is now best remembered for her roles as Mammy in Gone With the Wind (1939, dir. Fleming), and Aunt Tempy in Song of the South (1946, dir. Foster and Jackson). Both films are racist, perpetuating white supremacist ideas of Black people. The National Association for the Advancement of Colored People (NAACP) rightly criticised them. They also criticised McDaniel personally for taking the roles in them.

McDaniel felt this was unfair. She had started out on the stage with her brothers, before launching her own all-woman minstrel show in 1914. In that, she had written her own songs, subverting the White minstrel show stereotype of the Mammy. When she got to Hollywood she already had a name as a blues singer, and was one of the first Black woman to appear on the radio, but she took on bit parts as maids in films because it paid the bills. Her quote about preferring to play a maid than be one makes more sense when you see she was born in poverty and was taking the parts during the Great Depression.

By the 1930s, 20 years into her career, she had turned the subservient Mammy from the White minstrel shows of her childhood into a long-suffering woman rolling her eyes at the antics of a white heroine.

Gone With the Wind (1939) is a huge problem though. The book is deeply racist and contains white supremacist ideas and derogatory language. It reinforces the Lost Cause of the Confederacy mythology that still haunts American culture and politics. There’s no “things were different back in the day” excuse for it because it was widely criticised at the time. Walter White and NAACP, learning of Selznick’s adaptation of Margaret Mitchell’s best-selling novel, asked the producer to hire a Black adviser on it. Selznick instead picked a White woman to advise the Black actors on how to play the enslaved characters. Hattie said, but only in the Black press, that she hoped to imbue Mammy with spirit of Harriet Tubman, and the mothers of Booker T Washington and George Washington Carver.

After Hattie McDaniel’s Oscar win, she was seen as part of Hollywood’s use of negative racist stereotypes about Black people. Not least because she vigorously defended her choice to take both the roles and the money. Her film career stalled and she was increasingly out of step with the Civil Rights movement.

When she was diagnosed with breast cancer in 1952 McDaniel wrote a will asking to be buried in the Hollywood Cemetery. After her death in 1954, the cemetery refused to accept her, as they did not allow Black people to be buried there.

The Legacy of Hattie McDaniel’s Oscar

In her will, McDaniel also asked for her Oscar to be donated to Howard University after her death. The state appraiser, valuing her estate in 1954, wrote the Oscar had “no value”. McDaniel had died in debt, so the specific requests in her will were sold instead of passed on. W Burlette Carter’s investigation, Finding the Oscar, suggests the Oscar was sold as part of a job lot. It eventually arrived at Howard, as McDaniel originally wished, in 1961.

And then, ten years later, it had vanished.

Rumours and speculation abounded. It had been stolen, it had been lost, it had been thrown in the river by a student angry about her collusion with racist Hollywood. Carter’s investigation into what really happened to it is meticulous and worth a read. When the Academy opened their own museum in Los Angeles in September 2021, they put in an empty display case for McDaniel’s Oscar to prompt conversations about erasure from history.

On 1 October 2023, the Academy finally presented a reproduction of McDaniel’s Oscar to the Chadwick A Boseman College of Fine Arts at Howard. You can watch Howard’s celebration, called Hattie ‘s Come Home, on their website: https://finearts.howard.edu/

Hattie McDaniel’s Oscar is an object that provides a way of exploring the history of Black women’s participation in, and exclusion from, Hollywood.

Discovering McDaniel

We are not experts on the history and complexities of race in Hollywood because we’re White and British. This article has been drawn from a range of sources, listed in Sources. In particular, we’d encourage you to explore the following to discover more about Hattie McDaniel’s Oscar and legacy:

We’ve also welcomed recommendations and corrections from American cultural historian Dr. Tiffany Knoell, Bowling Green State University. Her advice has been invaluable: any errors in this post are solely our own.


Read more about women who achieved things between 1900 and 1950.

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Eight famous women singers

Camilla Williams wearing a fur and holding flowers. She is a black woman with dark hair in a wave. Text reads "Camilla Williams debuts at the New York City Opera - May 1946".

On 15 May 1946, Camilla Williams made her debut as Cio-Cio San in the New York City Opera’s production of ‘Madame Butterfly’. She was the first black woman to sign a contract with a major US opera company. This month, we take a quick look at eight of the most iconic female singers in opera history.

First up, it’s worth noting that opera was hugely popular from the 1700s to the 1960s. These famous women singers were as popular in their time as Beyonce or Lizzo now. It’s also worth noting that opera singers were seen as disreputable and scandalous in the 1700s, and this social attitude continued into the 1800s. As ever, powerful, financially independent women using their voices had to be cast out in some way.

This month we’re focussing on female popular singers from the 1830 onwards. Maybe we’ll visit the Covent Garden of the 1700s another time…

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Bertha von Suttner wins the Nobel Peace Prize: 18 April 1906

Cropped photo of Bertha von Suttner in 1906

On 18 April 1906, Baroness Bertha von Suttner becomes the first woman to collect the Nobel Peace Prize. She had been instrumental in Albert Nobel creating a prize for peace at all.

Von Suttner was an international leader in the peace movement, and continued to campaign until her death, a few weeks before Franz Ferdinand’s assassination triggered the first World War she had sought to prevent.

Continue reading “Bertha von Suttner wins the Nobel Peace Prize: 18 April 1906”

Marian Anderson sings in Washington: 9 April 1939

Contralto Marian Anderson sang at the steps of the Lincoln Memorial, April 9, 1939, to an estimated crowd of 75,000 people.

On 9 April 1939, Marian Anderson stood on the steps of the Lincoln Memorial in Washington DC and sang “My Country, ‘Tis of Thee”. A crowd of 75,000 listened to her, and millions more tuned in on the radio. She sang where she did because she had been refused the use Constitution Hall by its owners. Marian was black, and the owners had a white-artists-only clause.

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Yaa Asantewaa: 28 March 1900

On 28 March 1900, Queen Yaa Asantewaa addressed the remnants of the Ashanti government in Kumasi, in modern-day Ghana.

I must say this: if you, the men of Asante will not go forward, then we will. We, the women, will. I shall call upon my fellow women. We will fight! We will fight till the last of us falls in the battlefields.

Her words galvanised the Ashanti Confederacy, starting their final war against British colonialism on the Gold Coast. The Ashanti leaders chose Yaa Asantewaa to be the war-leader, the first woman to hold the post, and an army of several thousand was placed at her command.

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