The history of the Donnelly Garment Company and its battle with the International Ladies Garment Workers Union (ILGWU) is one that defies conventional understandings of American life in the Great Depression. It is a story of a female entrepreneur succeeding in an era of economic paralysis, and one of a union failing to organize a factory in a period when workers won substantive rights. ILGWU president David Dubinsky, Nell Donnelly Reed, and Senator James A. Reed were the principal figures in a contest to organize a single garment factory, a legal battle that came to represent much larger questions.
Jazz was born in New Orleans, moved to Chicago in the early 1920s, and came of age in New York and Kansas City during the 1930s and 1940s. Geographically isolated from the other cradles of jazz, Kansas City bred a distinctive hard swinging style of jazz, distinguished by driving rhythm sections and a spirited call and response interplay between the instrumental soloists and the brass and reed sections. As Bennie Moten, George E. Lee, and other African American bandleaders based at 18th and Vine pioneered a new style of jazz, a number of white bands in downtown Kansas City were performing a style of hot jazz modeled after nationally popular white bands. Ironically, while Kansas City would gain renown for its great African American bands that barnstormed across country, it was a white dance band, the Coon-Sanders Nighthawk Orchestra, which first established Kansas City’s national reputation as a jazz center.
Kansas City women–members of the Athenaeum, the Woman’s City Club, and other organizations–sought to assert power in their community and beyond. Coming from Republican and independent Democratic backgrounds, and abhorring the influence of the Democratic machine, they embraced a progressive spirit that revered what they envisioned as good government.
During the 1890-1930 heyday of vaudeville, a number of female impersonators enjoyed impressive, successful careers and became household names across the country. Even during 1920s Prohibition, the tradition expanded into nightclubs and cabarets and drew enormous crowds in large cities like New York and Chicago. American entertainment tastes started to become more conservative, repressive oversight of liquor consumption followed Prohibition’s 1933 repeal, and female impersonation almost immediately disappeared from “legitimate” and cabaret stages throughout the United States. But in wide-open Pendergast-era Kansas City, female impersonators remained popular until the late 1930s.
One of the defining aspects of “Boss” Thomas J. Pendergast’s “machine” politics was its approach to African American voters. During the early 20th century, at a time when black people were routinely excluded from the vote by Democratic regimes in most of the former slave South, Pendergast’s Democratic organization in Kansas City succeeded in part by attracting considerable black support. While such support was not unique to Kansas City—black Missourians never lost the vote in the same way or degree as their counterparts farther South—historians often point to the city as an example of early black political realignment toward a Northern Democratic Party based in urban, industrial centers and at increasing odds with its Southern wing over the issue of civil rights.
In the years between 1915 and 1925, Mexican migrants such as Paula Sanchez and her family arrived at Kansas City in large numbers to work for the city’s railroad and meat packing companies. These jobs proved to be erratic and poorly paid. In addition, these newcomers possessed few resources upon their arrival, save determination and a strong work ethic. Anglo Kansas Citians worried that this group would drain the city’s resources. Several female reformers, however, banded together to form a social service organization, known as the Guadalupe Center, to aid these arrivals.
In the second decade of the 20th century, Kansas City was emerging as a key center of economic power west of the Mississippi. Agriculture constituted a central pillar of Kansas City’s success: dozens of railroads shipped grains and livestock through the city’s new hub at Union Station, and its manufacturing district developed large meatpacking, flour, and other food processing industries. Wholesale and retail commerce joined agriculture and industry as the foundations of Kansas City’s economic power.
Like a prairie fire, a revived Ku Klux Klan (KKK) spread quickly across the nation in the 1920s, enrolling upwards of six million white, native-born Protestants into its ranks. Promoting “100 Percent Americanism,” “Protestantism,” “Law and Order,” and the “eternal maintenance of white supremacy,” the Klan found keen reception in quarters where the white majority population felt threatened by immigration, modernization, and illegal alcohol consumption.
Truman’s tenure in Jackson County government had a profound impact on Kansas City and Jackson County. He encouraged Jackson Countians to support bond issues during the Great Depression, which left a lasting legacy on the built environment of Kansas City and Jackson County. Even though he was a member of the machine, he developed a bipartisan strategy that ensured Kansas Citians and Jackson Countians would embrace these bond issues, because he wanted to demonstrate to voters that these projects would not just benefit the machine, but everyone.
This essay analyzes Bluford’s initial reporting on her effort to enter MU, her commentary on her failed civil lawsuit in May 1942, and the announcement of the newspaper’s fundraising campaign for African American education in the same month. The facts of Bluford’s three-year crusade to enroll at MU are known: she repeatedly tried to enroll at the university and pursued three lawsuits, losing the last one in April 1942. The fact that she and The Call collaborated to influence readers’ responses to the quest for African American educational rights has not been acknowledged or analyzed.
Kansas City, like other American cities, added new suburban-style developments at its edges during the early decades of the 20th century. What makes it a unique case for understanding this shift is the character of Jesse Clyde (J.C.) Nichols. Born in Olathe, Kansas, in 1880, Nichols had a career that spanned the first half of the 20th century, and included transforming thousands of acres of land into a planned suburban community.
The Liberty Memorial arose during a period of widespread monument-building, one that ran from roughly 1880 to 1930. It was restored amidst a second such period, beginning in the 1980s and continuing to this day. Locally, these two eras correspond with Kansas City’s emergence as a modern metropolis, and with its most ambitious program of urban redevelopment thus far. In each case and in different ways, residents framed the war and its remembrance as a means to future gains. These framings offer telling views of the city’s history, its greatest monument, and the changing nature of memory.
According to a May 29, 1928, editorial in the Kansas Citian , the Republican National Convention promised to “bring more influential people in industry, business, and financial circles than ever brought here by a convention.” Local leaders envisioned the 1928 Republican National Convention raising the national and regional profile of Kansas City in two related ways. First, delegates and visitors attending the convention could see the city’s growth in person. Second, and perhaps more importantly, the event and subsequent attention would bolster the city’s standing, particularly in relation to regional rivals such as Cleveland and St. Louis.
There are world records for nearly everything, including cattle processing. And in September 1918, Kansas City broke them all. As World War I entered its final fateful months, the Kansas City stockyards handled more than 55,000 cattle in a single day and 475,000 for the month. That fall, during a remarkable three-month span, more than 1.3 million cattle passed through the city’s yards. The Kansas City cattle business was impressive, but add to these figures hundreds of thousands of sheep, hogs, and horses, and more than 3.3 million animals were yarded in the city. First seven, then 12, then 34 railroads brought these animals into the city and out again to distant markets.
One of the defining political trends of the mid-20th century was the transition of black voters from the Republican Party to the Democratic Party, accompanied by a major shift in the party’s policy platform toward social liberalism and civil rights. Nationally, this change is usually dated to the latter half of the New Deal, roughly around the election of 1936. In Kansas City and the state of Missouri, however, it happened much earlier and in surprising circumstances that greatly influenced national affairs in later years.
"They did not try to build something ‘good enough for Negroes’ but something as good as money could buy." This is how Chester Arthur Franklin, the Republican founder of The Call newspaper and one of Kansas City’s most prominent black leaders, greeted the newly constructed eight-story building that housed General Hospital No. 2, serving the indigent African American population of Kansas City. When the new building opened on March 2, 1930, national public health experts joined the local black and white communities in considering the new facility to be the finest black public hospital in the nation, even rivaling some of the best white public hospitals with its state-of-the-art equipment and modern architecture.
Joseph “Joe” Shannon presided over Kansas City’s Northside Democratic Party from the early 20 th century to 1930, after which he relocated to Washington, D.C., for a 14-year tenure as a U.S. Congressman. Shannon’s political career was marked by his Jeffersonian Democratic views and his tenuous relationships with brothers James and Tom Pendergast.
It is safe to say that during the nearly 50 years she worked there, starting in 1918, Carolyn Doughty was the Women’s City Club. Her role far exceeded her modest title of "executive secretary."
The Board of Trade building was the pride of downtown Kansas City when it was completed in 1888. Designed by the Chicago architectural firm of Burnham & Root, the building at 210 West Eighth Street was once praised by the renowned British architect James Stirling (1926-1992) as “the toughest building of its period on either side of the Atlantic.”
The Folly Theater at 12 th and Central was built in 1900 as the Standard Theater. Designed by the prominent Kansas City architect Louis S. Curtiss, it is an important example of turn-of-the-century architecture in the downtown area.