The opening of the Museum of Modern Art (MoMA) in New York City was at the end of the 1920s. Scholars often note that the 1920s was a progressive era, and the museum helped with it being progressive. The museum’s origins were diverse because it was hiring racial and gender minorities, which would be considered unheard of during that era. Women and people from different backgrounds working at the museum helped cause the museum’s success. The museum’s original collection had a decent amount of contemporary art that was donated to, or purchased by, the museum. Art enthusiasts considered these paintings as new and revolutionary compared to typical art styles at the time. The MoMA currently sits as one of the most popular museums in New York and for art in general due to its success during the 1920s.

The original idea for the MoMA was in 1928 by three important women: Abby Aldrich Rockefeller, Lillie P. Bliss, and Mary Quinn Sullivan, known collectively as “The Ladies”, who came up with the idea for the MoMA over lunch, as the story goes. On March 7, 1928, Lillie and Aldrich were at a social gathering in Jerusalem where apparently they came up with the idea.¹ They wanted a place where they could display the trendiest and newest art at that time, namely contemporary art. Abby Rockefeller wrote about why she wanted the museum in the first place, “I began to think of women whom I knew in New York City, who cared deeply for beauty and who bought pictures, women who would be willing, and had faith enough, to help start a museum of contemporary art.”² She wanted a place that she and other women would be able to experience and enjoy the arts. The Ladies were daughters and wives of some of America’s wealthiest families living in New York, with Abby being the daughter-in-law of John D. Rockefeller. “The Ladies” were able to pool together their resources along with inviting investors and succeeded in opening the MoMA on November 7, 1929. The founding director of the MoMA, Alfred H. Barr Jr. set a goal for the museum to be “the greatest museum of modern art in the world” by helping everyone, and not only art experts, to enjoy art by understanding it.³

The MoMA had a decently sized Board of Trustees that helped it during its first couple of years. Three major trustees who helped the MoMA during this time were A. Conger Goodyear, Paul J. Sachs, and Josephine Boardman Crane. A. Conger Goodyear was a railroad and lumber tycoonist who also was the MoMA’s first president. Goodyear had previous museum experience from working at the Buffalo Art Museum from 1912-1928. While working there at that time, he played fast and loose with the museum’s money to acquire artwork that the museum might not have acquired otherwise. His actions sparked some controversy among other trustees, which resulted in Conger being voted out of the Buffalo AKG Art Museum’s Board of Trustees.⁴ Aldrich Rockefeller wanted Conger to be president of MoMA due to his accomplishments at the Buffalo AKG Art Museum and his ability to acquire paintings that the MoMA probably could not. Paul J. Sachs was a professor at Harvard who helped finance the MoMA in its early years. As the Board was searching for a director of the museum, Sachs was the one to recommend one of his former students, Alfred H. Barr Jr. Sachs also donated to the museum some of his drawings from his early career. Josephine Boardman Crane helped the museum by donated her Russian art collection and also offered fiscal aid. Shortly before the grand opening of the MoMA, the Stock Market crash had just hit the world. But with the help of multiple trustees, the mere idea of the MoMA was not lost to the trash bin. Since all of the trustees came from rich families, they were able to provide help to the MoMA during this trying time.

The MoMA originally opened at a different location from where it currently stands. When the MoMA opened, it was located at the Heckscher Building on 730 Fifth Avenue, not on 11 West 53rd Street, which is two streets away from the Heckscher Building. The Heckscher Building was home to the MoMA for 3 years, until 1932 when they moved to a different building. The MoMA was located in the Heckscher Building for multiple reasons. The Heckscher Building was one of the very few skyscrapers (it would not be considered a skyscraper by today’s standards) in New York City and it had the reputation of being “The Tower of Trade.” Other famous establishments also were renting floors on the Heckscher Building, so the moniker had precedence. The fact that the Heckscher Building could be easily seen from anywhere in New York City, along with its prestigious reputation, made the location perfect for the MoMA.

The opening of the MoMA was not all sunshine and rainbows because John D. Rockefeller Jr. did not like Modern art. John D. Rockefeller Jr. was the son of John D. Rockefeller and husband to Aldrich Rockefeller. Although John D. Rockefeller Jr. did like art and was an art collector who helped fund the Cloisters—a museum designed to collect Medieval Art—John D. Rockefeller Jr. simply disliked Modern Art. Even though Aldrich Rockefeller was the founder of MoMA and played a very important role in it, John D. Rockefeller Jr. chose not to support the MoMA in its initial years. Although John D. Rockefeller Jr. disliked Modern Art and avoided it the best he could, he did not try to prevent his wife from acquiring pieces of Modern Art and yet he never paid for them.⁵ John D. Rockefeller Jr. was a Baptist, and in the 1920s Baptists preferred not to deal with secular art like Modern Art of the era. John D. Rockefeller Jr. was a conservative, and conservatives often disliked Modern Art from that era because it was challenging traditional norms. Though John D. Rockefeller Jr. did donate to the MoMA, it was not until later in the 1940’s. And due to his funding, the MoMA was then moved to its modern location where it is still standing today.

The original MoMA gallery contained paintings by Vincent van Gogh, Georges Seurat, Paul Cézanne, and Paul Gauguin. When the MoMA was created, it was not able to afford the purchase of any artwork; so instead, they received donations of artwork. Alfred H. Barr wanted the MoMA to display newer pieces instead of older, which was difficult since most of the MoMA’s collections were already over one hundred years old. Alfred H. Barr got rid of the older paintings by stating “a torpedo moving through time, its nose the ever advancing present, its tail the ever receding past of 50 to 100 years ago.”⁶ Alfred H. Barr was a Harvard professor who also loved contemporary art. During his time at Harvard, he helped to run the Harvard Society of Contemporary Art. In July, 1929, he was interviewed for the position of founding director, and on August 12, 1929, was accepted for the position.⁷ As its director, Barr sent Anson Goodyear—Anson being a member of the Board of Trustees—to travel to Europe to collect six paintings by van Gogh, Seurat, Cezanne and Gauguin, whose exhibition was very successful for both Barr and the MoMA.⁸

Themes of the 1920s

The 1920s was an era that challenged the old traditional norms from the previous era, the Victorian era. The Victorian era held strict social and gendered norms that favored traditionalism and did not like feminism. After the conclusion of the First World War, America challenged Victorian thought by consuming the works of modernist philosophers. It sparked such ideas as the New Women, a rise of secular culture, pluralism, and an expansion of new ways of thinking. The MoMA embodied the rise of modernism in America by connecting many of these themes to the MoMA in some way.

Vincent van Gogh, Georges Seurat, Paul Cézanne and Paul Gauguin were deliberately chosen to be the MoMA’s first exhibit. The reason was because all four of these painters were impressionist painters who also helped revolutionize the art world. Impressionism as a form of art is described as capturing the sense of time passing by with the changing of lighting, where the subject is often something found in the modern world such as a building, a crowd of people, a pier, or a park. Impressionism came about from the rejection of a previous form of art, which was supposed to be the accepted standard for art: Neoclassicism and Romanticism. Both forms of art are very similar to each other, in that they are typically still images of important historical events and subjects. The difference between these two forms of art lie in their treatments of the subjects. Neoclassicism is a rigid form of art based on the Greco-Roman form of art and favors historical scenes. Romanticism is a similar form but focuses on nature and the subject’s emotions. Impressionism is a rejection of those forms, just as the 1920s was a rejection of the Victorian values and norms. These painters all influenced the discipline of impressionism. And because the MoMA chose to display these painters’ works as its first exhibits, it showed everyone that they were going to revolutionize the enjoyment of art and what a museum should display in their exhibits.

Abby Rockefeller was a very important component in the creation of the MoMA. Out of the three founding women, Abby Rockefeller created, actively participated in, and did the most amount of work for the MoMA. Unlike most other women during that era who may later step out of the spotlight after creating a museum or let go of that idea, Abby was different. Abby was a member of the Board of Trustees and also was the MoMA’s treasurer. Due to her work in the MoMA, she gained new titles and responsibilities throughout her years. When she worked at the MoMA, she was often a negotiator between Barr and Goodyear due to their disagreements. Elsewhere in Abby’s life, she was a women’s suffragist and helped women with their economic and social disadvantages.  She was a member and chairwoman of the Young Women’s Christian Association for twenty years, and donated large amounts of money to them.⁹ She used her privileged status to help underprivileged women to have better lives and advocated for women’s progress. These traits the Abby presented are similar to historian Lynn Dumenil’s interpretation of the New Women.¹⁰ The New Women challenges traditional gender norms established in the Victorian age. Common people who challenged these notions of normalcy were known as flappers and women suffragists. It is the same to say that Abby Rockefeller is associated with the New Women due to her challenging of traditional gender norms of the 1920s.

The MoMA did not just hire white people but was a diverse place of employment. Though technically hired in the early 30s, Soichi Sunami, a Japanese-American photographer, showed that the MoMA embraced the ideals of modernism and pluralism founded in the 1920s. Soichi Sunami was a photographer who was a member of the Seattle Art Club, participated in multiple exhibits, and studied under painter John Sloan.¹¹ Soichi Sunami was the living embodiment of the MoMA’s focus on diversity of the 1920s. In the 1920s, many groups of people experienced a cultural and economic boom. Japanese Americans were one of those groups, due to their tight-knit families, their focus on education, along with their support of each other out of poverty. Soichi was born in Japan but lived in New York City for a long time. His talent caused him to be recognized, with Aldrich Rockefeller asking him to work at the MoMA in 1930 due to his successful career.¹² This caused him to have a very successful forty-year long career working at the MoMA.

Conclusion

The MoMA was one of the last events that occurred at the end of the 1920s. It was a radical idea that came about due to the climate of the 20s. The MoMA’s existence challenged the traditional Victorian social norms by predominantly displaying impressionist art, by the founders of the MoMA being all women, and by hiring diverse people. These decisions caused the MoMA to be the embodiment of the themes of the 1920s. Since these themes were entrenched in the MoMA’s identity, they fueled the success of the MoMA in the late 1920s early 1930s and to become the very successful museum as we know it today.

1. Kate Walbert, “Lillie P. Bliss, ” in Inventing the Modern: Untold Stories of the Women Who Shaped The Museum of Modern Art, ed. Ann Temkin and Romy Sliver-Kohn, (New York: The Museum of Modern Art, 2024) 64 ︎
2. Abby Aldrich Rockefeller, “MoMA through Time,” MoMA, accessed Apr 21, 2026, https://www.moma.org/interactives/moma_through_time/1920/three-women-have-a-vision/. ︎
3. “The Museum of Modern Art history,” MoMA, accessed April 21, 2026, https://www.moma.org/about/mission-statement/history#:~:text=In%20the%20late%201920s%2C%20three,Its%20founding%20director%2C%20Alfred%20H. ︎
4. “A. Conger Goodyear” Buffalo AKG Art Museum, accessed April 30, 2026, https://buffaloakg.org/person/conger-goodyear ︎
5. David Rockefeller, interviewed by Sharon Zane, transcript, January 17 1991, The Museum Of Modern Art Oral History Program. https://buffaloakg.org/person/conger-goodyear ︎
6. Alfred H. Barr Jr. “Time” MoMA, accessed on April 21, 2026, https://www.moma.org/interactives/moma_through_time/1920/starting-a-collection-from-scratch/ ︎
7. Sybil Gordon Kantor, Alfred H. Barr, Jr., and the Intellectual Origins of the Museum of Modern Art, (Cambridge: MIT Press, 2002) 211. ︎
8. Kantor, Origins of MoMA 190-214. ︎
9. “Abby Aldrich Rockefeller, 1874-1948,” Rockefeller Archive Center, accessed on March 31, 2026. https://rockarch.org/resources/about-the-rockefellers/abby-aldrich-rockefeller/
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10. Lynn Dumenil, Modern Temper: American Culture and Society in the 1920s, (New York: Hill and Wang, 1995), 99. ︎
11. Kathy Muir, “Soichi Sunami,” Seattle Camera Club, accessed April 30, 2026, https://www.seattlecameraclub.com/soichi_sunami.html ︎
12. Muir, “Soichi Sunami,” Seattle Camera Club, accessed April 30, 2026, ︎

Bibliography and Suggested Resources

“A. Conger Goodyear.” Buffalo AKG Art Museum. accessed April 30, 2026.

“Abby Aldrich Rockefeller, 1874-1948.” Rockefeller Archive Center. accessed on March 31, 2026.

Barr, Alfred H. Jr. “MoMA through Time.” Museum of Modern Art . accessed on April 21, 2026.

Dumenil, Lynn. Modern Temper: American Culture and Society in the 1920s. (New York: Hill and Wang. 1995)

Kantor, Sybil Gordon. Alfred H. Barr, Jr., and the Intellectual Origins of the Museum of Modern Art. (Cambridge: MIT Press, 2002)

Muir, Kathy. “Soichi Sunami.” Seattle Camera Club. accessed April 30, 2026.

Rockefeller, Abby Aldrich. “MoMA through Time.” Museum of Modern Art. accessed Apr 21, 2026.

Rockefeller, David. interviewed by Sharon Zane, transcript, January 17 1991, The Museum Of Modern Art Oral History Program.

“The Museum of Modern Art history.” Museum of Modern Art. accessed April 21, 2026.

Walbert, Kate. “Lillie P. Bliss. ” in Inventing the Modern: Untold Stories of the Women Who Shaped The Museum of Modern Art. ed. Ann Temkin and Romy Sliver-Kohn. (New York: The Museum of Modern Art. 2024)

J Pelar

Josh Pelar is a History student at Ramapo College of New Jersey.

Some of these occupations included opportunities within botany, mathematics, architecture, blacksmithing, cinema operators, miners, artists and so on. With about 280 booths in attendance, over 100 occupations, career paths and opportunities were displayed. These events also intended to raise money for the Women’s Republican Party, several members of the organizing committee were a part of this organization.

The first fair was held from April 18th to the 25th, 1925, however there were years of preparation needed in order to organize such an event, and there are even newspaper clippings from as early as 1923 publishing the fair. Initially the fair was only intended to run for one year however, within the first years’ operation there were close to 160,000-200,000 visitors. The overwhelming number of visitors even caused the fair to expand into surrounding buildings just to adhere to the population. Due to the popularity, the fair then began to run annually until 1928 (see timeline for more specific dates), and  by that time several other foreign countries had joined in the fair’s events. Some of which included Greece, Great Britain and Germany. 

As a whole the fair intended to help women transition from their traditional positions in society, into their new ones. Within previous decades the ‘traditional’ role of women was held within the domestic, they were intended to keep the home clean, cook, tend to children, and any other responsibilities needed. If they were able to work it’s likely that their occupation still fell within the domestic sphere with jobs such as housekeeping often being readily available. However, as the years progressed women began to establish their place within the public sphere and therefore within the rest of typical society. Their jobs began to hold more public positions, which included jobs such as secretaries and salesclerks. However many women were limited in their knowledge of what was available to them, and resulted in many women working within the same jobs. The fair intended to expand women’s horizons and possibilities in their progressive era.

Who organized the fair?

With each fair came endless amounts of boards and committees created in order to ensure a successful and impactful fair. However two women credited with much of the fairs’ success are Helen Marie Bennett and Ruth McCormick.

Helen Marie Bennett: Born September 17th, 1972 in Washington, Iowa, Bennett was an American journalist and businesswoman, she worked for the Chicago Record and authored several books including ‘Women and Work.’ She also served as manager of the Chicago Bureau of Occupations, which essentially where college-educated women went to seek employment, the bureau acted as a sort of guide for these women. Despite all this Bennett is most known for being a part of the committee that organized all four woman’s fairs.  

Ruth McCormick: Born March 27th, 1880 in Cleveland Ohio, McCormick went on to become a very successful politician, activist, and publisher. Despite her familial wealth McCormick chose to live within the University of Chicago Settlement, which introduced her to working women and exposed her to the issues they faced. This in turn made McCormick a better writer and publicist at the Chicago Tribune, which she worked at very early in her career..  She was also a member of the Welfare Committee, the Women’s City Club of Chicago, she served as a chairwoman for the women’s welfare section of the National Civil Federation, and was an incredibly active member of the Progressive Party, she even went on to win a seat within the party in 1912. Her husband served one term in the US House of Representatives, and was Senate to Illinois in 1918, very often McCormick is credited with her husband’s political success and she eventually served as chairman to the women’s first Republic National Committee. However after the death of her husband in 1925 McCormick dedicated herself to the Woman’s Fairs. Where she went on to serve as a general executive and as a member on the Board of Directors. Even after the death of her husband McCormick was still incredibly active in politics, going on to become the Republican representative for Illinois from 1929-1931. 

The Influences of the Woman’s World’s Fair

The Fair was the result of a multitude of ever-developing factors within the late 19th and early 20th century. These factors and events challenged the traditional gender norms set within society and led to women gaining more freedom within society and their everyday lives. 

The 1893 World’s Fair

The 1893 World’s Fair, which is also referred to as the Columbian Exposition, was the first ever world’s fair held in Chicago. The Fair was meant to celebrate the 400th anniversary of Christopher Columbus’ arrival in the new world. The centerpiece of such a celebration was over 600 acres of land from the Frederick Law Olmsted Jackson Park were carved out and rebuilt specifically for this exposition. The fair grounds, which would later be referred to as The White City, aimed to demonstrate an ideal and almost euphoric United States. The city was specifically designed and covered in a white plaster, therefore giving it the nickname of White City, all of the buildings were also a specific height in order to give a more uniformed look, and at the center of the entire fair was a large water pool, meant to be representative of the voyage Columbus took. Due to the time and care put into the architectural aspects of the fair, it now serves as a great influence to Chicago architects. Over the six month residency the fair sought to host millions of visitors, from all walks of life, and from all over the world, over 46 nations participated in this fair. As a whole this fair served as an exposition for innovations in architecture, engineering, transportation, weaponry, art, and so much more. This specific fair also greatly impacted the American’s perception of beauty, since it exposed Americans to new cultural aspects from other countries.

 Overall the fair greatly impacted American culture, economics and even politics, it was meant to demonstrate the United States as being wealthy and progressive, however the fair truly exposed several flaws within American society. 

Every aspect of the 1893 World’s Fair was specifically designed, which is demonstrated within the very architecture of the fair. It would therefore make sense that the fair was also specifically designed to exclude those typically oppressed within this society, including women.  Although there was a Women’s Building within the fair’s design, it was on the very outskirts of the fair’s main buildings, and only a fraction of the size. Aside from this building there was a clear lack of representation of Women within the fair. Due to this many thought that a fair specifically tailored for and representing women was greatly needed, this idea then snowballed into what is now known as the Woman’s World’s Fairs. 

The Women’s Suffrage and Rights Movement 

The Women’s Suffrage movement stemmed from the women’s rights movements within the mid-19th century. At first these movements demonstrated several different goals, however despite this several leaders within the movement decided that gaining the right to vote would be most important. It would open doors to several other opportunities women were seeking within society, however disputes over how to gain the vote caused many divisions. Although historians tend to paint the women’s suffrage movement as being a part of the very early 20th century, the first recorded attempt at a national movement began in Seneca Falls, New York in July of 1848. After several other movements, demonstrations, and petitions, the division over how women would gain the right to vote eventually split the movement into two groups, the National Woman Suffrage Association (NWSA) and the American Woman Suffrage Association (AWSA). Around the 1890s the two groups realized their division only impeded on progress and the two combined to great the National American Women Suffrage Association (NAWSA), Thirty years after the groups united an incredible stride in the movement was made when Jeannette Rankin was elected to Congress as the Republican Representative of Montana. Rankin was an active member in the suffrage and rights movements, and used her platform to support the movement, her support was quickly felt in 1917 when she testified to Congress on the movements in order to keep it on the agenda. Soon a Committee on Women’s Suffrage was created in order to consider bills related to women’s voting rights. After two years of hearings, lobbying, and meetings Congress finally passed a bill on women’s voting rights July 7th 1919, and just over a year later the bill was officially adopted into the Constitution. 

Although this was an incredible achievement for the women’s suffrage movement, it still excluded a great deal of American citizens. Specifically African American men and women, it would be almost 40 years before their rights were granted. All in all the exclusion of this population of Americans demonstrated the country’s failed Reconstruction movement. 

This movement greatly influenced the development of the Women’s World’s Fairs, many members of the organizing committee, including Ruth McCormick, were at the forefront of the Suffrage and Rights movements. The results of these movements, including the right to vote, opened the door to many women and gave them access to the public sphere. However, even though many women were now able to be within the public sphere, they were still greatly limited in what they could do occupationally speaking. The fair was greatly needed in order to demonstrate to women what opportunities were available to them within this new public sphere. 

The New Woman 

Although the late 1800s and early 1900s demonstrate great times of progression for women’s equality, there is no surprise that older generations often pushed back against these ideas. Often the new and progressive women within society were referred to as the ‘New Woman,’ and as positive as it sounds it was typically meant as a sort of insult. The ‘New Woman’ typically referred to the younger generation of women, who demonstrated feminist ideals and who are now cultural icons. These women, often referred to as ‘flappers’ were actually just working class women. They were women who worked, were financially independent, voted, and spent their nights out on the town, however most importantly they were women who spent money free from male influence. So it’s no surprise that these new women were typically welcomed in urban environments such as Chicago. 

The Romanticization of the New Woman 

Often when eras of great progression, such as the women’s suffrage and rights movements, get romanticized, and many of the negative aspects are glossed over. First off, the jobs that became readily available for women were smaller-scale jobs men took on to start their climb within their careers, like salesclerks or secretaries. These jobs were then feminized and seen as lesser, therefore they were only paid about 42-63% of what men would make in that exact position. This pay gap was even greater for women of minority groups. Many women also worked within the same positions, and although the Women’s World Fair presented many opportunities, they were mainly directed toward white educated women. 

The Working Woman in the Media

Another interesting notion to keep in mind is the role that the media has played in encouraging the development of the New Women and of women within the public sphere. Of course the economy is going to encourage women to work, since in the end it meant they would receive more money. Between the 1900s and 1930s representation of the working women increased dramatically. At first women were presented as doing very simple jobs within offices and stores, but more importantly it was presented that the workplace was an environment in which women would be able to meet their husbands. As the years went on, and working women in media became a natural sight, the media began reflecting the realities of working women’s lives. Representing the mundane, repetitiveness of their lives.

Overall the development of the working women, the new women, and of flappers came as a direct result of the 19th amendment and directly influenced the women’s world’s fair. Although women began to enter the public sphere they were still very limited in what they could do, the fair acted as a networking agent for them. And although these were great times of progression it is extremely important to understand how romanticized this era is and how many negative details are simply glossed over. 

Conclusion

As a whole the Woman’s World’s Fair stood as a testament to the progressive nature of the early 20th century. The event, created by women and for women, provided them with access to the opportunities available to them. Achievements within several different fields were proudly displayed and hundreds of booths demonstrated new career paths women of the era could take up. The creation of this fair was the direct result of a multitude of events, including the limited representation in the1893 Columbian Exposition, the strides made within the Suffrage and Woman’s Rights movements, and the active development of what is now known as the ‘New Woman.’ Typically this era of history is presented as being extremely progressive, and the events of the World’s Fairs (both the Columbian and the Woman’s) only further emphasized this idea since they were intended to demonstrate progression in a culture, engineering, and many other topics. However it is important to keep in mind the large population of Americas that were outright discriminated against during these fairs. It’s also important to note that even women who were able to be a part of the public sphere through these job opportunities were still discriminated against and even sexualized in some aspects. Ripples of these misogynist, and racist ideas are demonstrated in the decades after the fairs, and aspects of such are even felt within modern day society. With any event in history it’s important to understand not only the context of the event, but the multifaceted sides of the event as well. By understanding this one can truly grasp the importance and influence that major events, such as the Woman’s World’s Fair, had on society and how it affects modern society. 

Timeline:

Citations:

““The New Woman” | US History II (American Yawp).” Courses.lumenlearning.com, courses.lumenlearning.com/suny-ushistory2ay/chapter/the-new-woman-2/.

“Chicago Architecture Center.” Chicago Architecture Center, 2024, www.architecture.org/online-resources/architecture-encyclopedia/worlds-columbian-exposition-of-1893.

Dumenil, Lynn. The Modern Temper : American Culture and Society in the 1920s. New York, Hill And Wang, 1995.

Estherwang. “The 1925 Woman’s World’s Fair in Chicago – Chicago History Museum.” Chicago History Museum, 22 Apr. 2025, www.chicagohistory.org/the-1925-womans-worlds-fair-in-chicago/. Accessed 18 Mar. 2026.

Ganz, Cheryl. The 1933 Chicago World’s Fair : A Century of Progress. Urbana, Univ. Of Illinois Press, 2012.

   Grossman, Ron. “Chicago’s Society Women Threw a World’s Fair of Their Own in the 1920s to Showcase Female Talent.” Chicago Tribune, March 11, 2024. https://www.chicagotribune.com/2024/03/03/womens-world-fair-chicago/

  Miller, Taylor Jade. “New Women, New Opportunities: The New Women of Chicago’s World’s Fairs, 1893-1934,” 2018

“MCCORMICK, Ruth Hanna | US House of Representatives: History, Art & Archives.” History.house.gov, history.house.gov/People/Detail/17791.

Patrick, Jeanette. “Ruth Hanna McCormick.” National Women’s History Museum, 2016, www.womenshistory.org/education-resources/biographies/ruth-hanna-mccormick-simms.

 Scott. “Woman’s Part at the World’s Fair, Part I.” Chicago’s 1893 Worlds Fair, April 2, 2024. https://worldsfairchicago1893.com/2019/03/01/womans-part-at-the-worlds fair-part-1/. 

“The House Supports Women’s Suffrage, 1917–1919 | US House of Representatives: History, Art & Archives.” History.house.gov, history.house.gov/Exhibitions-and-Publications/WIC/Historical-Essays/No-Lady/House-Supports-Suffrage/.

“The World’s Columbian Exposition: The White City and Fairgrounds – Smarthistory.” Smarthistory.org, smarthistory.org/white-city-and-fairgrounds/.

Tracey Jean Boisseau, and Abigail M Markwyn. Gendering the Fair : Histories of Women and Gender at World’s Fairs. Urbana, University Of Illinois Press, 2010.

Weimann, Jeanne Madeline. The Fair Women: The Story of the Woman’s Building World’s Columbian Exposition, Chicago 1983. Chicago, IL: Chicago, III : Academy Chicago, 1981. 

“Woman’s World’s Fair, 1925.” Chicagohistory.org, 2026, encyclopedia.chicagohistory.org/pages/1374.html. Accessed 18 Mar. 2026.

Suggested Resources:

The Chicago History Museum

The Chicago Digital Collections

The Chicago Architecture Center

The Chicago Tribune

madison

Madison is currently a senior at the Ramapo College of New Jersey, who took this course in the spring of 2026. She has a major in Visual Arts, with a concentration in Art History, along with a double minor in Anthropology and Museum and Exhibitions Studies. After graduating Madison hopes to continue her education in order to become an Archaeologist or Museum Educator.

Atlantic City & 1920s Tourism

Atlantic City, one of New Jersey’s most famous coastal vacation spots, was established in 1854 when a track was created from Camden, NJ, crossing the Delaware River from Philadelphia to the shore. This resulted in a major increase in tourism. As tourism boomed, a town was built behind the beach and wooden hotels began to line up the area. This increase of tourism left many to see profitable business.

Atlantic City developed the reputation of being both a restful vacation destination and a lively spot for amusements. The city’s signature rolling chairs started off as mere wheelchairs for visitors to use from hotel to hotel. It gradually evolved into a rental business as others joined in. By 1892, rolling chairs had become a popular trend, and by the 1920s, they were widely used. The city officially became a place where middle class people could pretend to be rich, with show business attractions becoming their popular source of entertainment.² Business leaders began to build luxurious spots for middle class tourists, and by the 1920s, the middle class had come to dominate the new consumer culture. This new middle class, typically men, sought personal satisfaction in leisure and consumption.³ It was this very class that motivated local businessmen to create one of America’s most famous pageants, the “Miss America” pageant.

The Very First Miss America Pageant in 1921

The 1920s marked a decade when businessmen sought to rise into a more idealized position. Even small businessmen made an effort to present themselves as dedicated to civic life.⁴ In fact, it was local small businessmen who created the pageant. The “Miss America Pageant” owes its existence to a man named Conrad Eckholm, owner of a hotel named the Monticello. He proposed to have the Atlantic City Business Men’s League sponsor a week-long event that extended the Labor Day weekend. This proposal’s goal was to benefit smaller side hotels that were not on the boardwalk, including his own. They donated around $5,916 towards this event and named it the “Fall Frolic of 1920.”.⁵ It would not yet feature the beauty pageant until the following year. Instead, they hosted an hour-long “Rolling Chair Parade”. After the 1920 event, an Atlantic City newspaperman, Harry Finely, suggested a beauty contest to be added to the next Fall Frolic. When gathered in a meeting with the city’s managers, he proposed that newspapers throughout many cities should run the contest. This contest would choose the “most popular young woman” in their respective city. To create a more “appropriate” way to host a beauty contest for the middle class, newspapers helped by having people send in photos of contestants instead of letting contestants sign up themselves. Liking the idea, the President of the Chamber Commerce, Sam P. Leeds, presented Finley’s proposal to the Hotelsman Association. They agreed to have these women compete against other Inter-City contestants at the Frolic. Many East Coast newspapers ran this popularity contest, calling it the “Inter-City Beauties” contest. Cities like Pittsburgh, Washington D.C., Baltimore, Philadelphia, Jersey City, and Newark held summer events where women were judged on their beauty and impression. The winners from each city would then win a free trip to Atlantic City to attend the Fall Frolic. On July 24, 1921, The Washington Post announced the winners of their contest, with the first prize winner being sixteen year old Margaret Gorman.⁶ On September 2, 1921, the Camden Daily Courier announced Kathryne Gearson as the winner to represent South Jersey. She would later be given the title “Miss Camden” for the pageant.⁷ Other cities chose their own winners. The women to be sent to Atlantic City were Miss Philadelphia, Nellie Orr, Miss Ocean City, Hazel Harris, Miss Pittsburgh, Thelma Matthews, and Miss Harrisburg, Emma Pharo.

The official pageant began on September 7th, 1921. Hudson Maxim, popularly known as the inventor of smokeless powder, played a character named “King Neptune”. He arrived with a group of “mermaids”, the Inter-City contest winners. They all arrived at the Million Dollar Pier for the opening ceremony. King Neptune and the Inter-City women paraded on a seashell float on the boardwalk. The women later visited the Keith’s Theatre, where a crowd and a panel of judges examined and questioned them. The audience’s favorite was Washington D.C’s, Margaret Gorman, earning her the first trophy. In the evening, Neptune and the women watched a performance by “Dawson’s Dancing Dolls”. The public watched the show with the contestants in full view. At the end of the first day, Neptune and the women attended a costumed ballroom event called “The Frolique”. They sat on a throne display, watching the event take place.⁹

The next day of the pageant featured the Bathers’ Revue, a series of bathing suit contests. All participants and visitors were required to wear one-piece bathing suits. Around one thousand people showed up to watch the Rolling Chair Parade and beauty contests. The Bathers Revue beauty pageant had two sub-categories: “Amateur” and “Professional”.¹⁰ The professional category included professional actresses, dancers, models and swimmers. Across four contests, women competed for the titles of “Most Beautiful” and “Most Beautiful Bathing Beauty.” The overall winner would receive the ultimate prize, the “Golden Mermaid Trophy”, and be crowned the first “Miss America”. Miss Washington, Margaret Gorman, won both the Inter-City Beauty Amateur title and first place in the Inter-City Bather’s Revue, while Miss Philadelphia, Nellie Orr, came in second.

List of Finalists:

Gorman, Saunders, and Salisbury competed against each other for the ultimate title of “Most Beautiful Bathing Girl in America.” A panel of judges and the audience chose the winner. Since the audience favored Gorman the most, she won the “Golden Mermaid Trophy,” earning her title as the very first “Miss America.”. After her victory, reporters and photographers surrounded her as she attended parties held in her honor. The pageant became a huge success, motivating its organizers to host it again the following years.

The 1920s Pageants, Controversies, & the Women’s-Religious Protests

The pageant was so successful that the number of days, activities, attendees, and contestants increased each year. The number of contestants grew from just eight to eighty-three by 1924.¹³ In addition, new rules were added. In the early years, a winning Miss America could reenter the pageant in order to fight for her right to maintain her status. However, after Ruth Malcomson, Miss America 1924, criticized the fairness of allowing professional women to compete, new rules were introduced prohibiting any past winner from reentering. Another rule added was that married women could not become contestants in the pageant. The pageant never explicitly enforced this rule, assuming that this was something the public knew to follow. However, after the discovery of a married contestant, the rule was explicitly put in place. Another change was the audience’s power. Gorman won her place as Miss America with the overwhelming support of the audience. This changed in 1922 when the audience’s votes were eliminated. This granted judges the sole decision of crowning the winner. In addition, a new category, the “evening gown” competition, was introduced to the pageant. By 1923, the pageant gained national recognition, and newspapers all over the country covered its events. Not only did the pageant become more popular, its winners did as well. Mary Campbell, Miss America 1922 and 23, received offers to be in films, musicals, and vaudeville shows. However, she refused these offers to return to school. Miss America 1925, Fay Lanphier, was the first to be in a Hollywood movie and profit from her own tour. This demonstrates that as the pageant grew in popularity, it became more commercialized. It was so commercialized that by 1925, contestants were asked to sign an agreement to appear in a Hollywood film if they won. Contestants also began to promote products on their floats. Pageant promoters, however, did not look favorably upon this. Even so, the 1926 Miss America, Norma Smallwood, made around $100,000 in product endorsements. She would go on to earn a salary that surpassed that of President Coolidge himself.

Although the pageant gained massive popularity, it also sparked controversy amongst religious and women’s groups. In the 1920s, Americans struggled to adjust to modern life while also trying to keep their traditional beliefs and values. Religion was losing its influence on Americans, and Protestantism was no longer a dominant force shaping cultural norms.¹⁴ Religious leaders began to view the popular culture of the 1920s, shaped by materialism and the pursuit of wealth, as a decline in religious values. An example of the “moral decline” that religious groups were concerned with was the display of the female body, especially through bathing suits. They viewed bathing suits and uncovered knees as immoral and improper. By protesting, clergymen contributed to the creation of beach rules that banned or regulated bathing suits.¹⁵ Atlantic City was not an exception. The first year the pageant took place, there were restrictions on bare knees and skin-tight bathing suits. However, the competitions were temporarily exempt from these restrictions. This contributed to the protests against the pageant. In September of 1923, The Ocean City Camp Meeting Association held an annual reunion. A group of people, including a preacher, created a resolution condemning the bathers’ review of the pageant. The resolution stated “The danger lies in taking girls of tender years and robbing them in attire that transgresses the limit of morality”.¹⁶ Besides religious motivations, feminism also played a role. While many might assume that feminism would oppose restrictions on women’s choices of clothes, a more traditional form of feminism supported these restrictions. Feminists argued that the pageant reduced women to their physical appearance, encouraged rivalry, and exploited them for profit. On April 18, 1924, the New York Times reported that the Y.W.C.A created a resolution that condemned the pageant. They claimed it corrupted women of “pure womanhood” by encouraging vanity and envy.¹⁷ In October of 1924, the Pennsylvania Federation of Women’s Clubs presented a statement that denounced beauty pageants. They encouraged women’s educational and religious groups to do the same. The year of 1927 experienced greater opposition. On September 29, 1927, the National Council of Catholic Women presented a statement that stated the pageant “exploited the feminine beauty of young women for financial gain”.¹⁸ They accused parents of entering their daughters for money and urged other Catholics to oppose these pageants. In November of 1927, the Atlantic County Federation of Church Women protested the pageant and the commercialization of the boardwalk. They called it an immoral influence on women and a barrier to the public’s free use of the area. The pageant organizers tried to ignore these protests, however, they decided to temporarily discontinue the pageant in fear it could damage Atlantic City’s reputation.

Miss America & The Flapper

The “New Woman” of the 1920s symbolized the “modern woman” who entered positions that challenged traditional female roles. They entered the public sphere and exhibited changing sexual attitudes. Similar to the push-back from religious groups against a modern secular society, the modern “New Woman” also faced resistance. In addition to religious controversy, the “Miss America” pageant faced criticism for the commercialization that some of the women became involved in. In its later years, it opened opportunities for women to earn their own money in product endorsements, tours, and even Hollywood films. This being a part of the symbol of the “New Woman”, it led to controversy. Even in its beginnings in 1921, it faced similar criticisms. In August 13, 1921, The New York Times reported that an Oklahoma Congressman sought a beauty pageant ban, stating that “Modern women were thinking more of their looks than of their home”.¹⁹ Despite this, the Miss America pageant had actually served as a form of resistance to the “New Woman,” particularly the image of “The Flapper”. Flappers were young, single women who defied Victorian constraints by rejecting corsets, wearing bobbed hair, dressing in shorter, less shaped skirts, applying darker makeup, and smoking. To combat this image, pageant promoters were interested in promoting girls who resembled a more traditional “Victorian-like” kind of womanhood. These women were subservient, and demonstrated capability of being a good wife, homemaker, and mother. Contestants were expected to show no interest in pursuing public careers, instead valuing marriage. Pageant judges and audiences favored contestants who acted and dressed in a way that differed from flappers. Contestants were often accompanied by their mothers and acted surprised in their success in order to maintain an “innocent” image. Additionally, contestants with unbobbed, conservatively styled hair and no dark makeup were praised.²⁰

Despite the festive atmosphere of Atlantic City, contestants were portrayed as church-attending women who abstained from gambling, smoking, and drinking alcohol. Promoters were eager to present the pageant as “above” these vices. These portrayals were essential to the image of “Miss America”, representing the ideal of what they believed the American woman in the 1920s should look like. “Miss America” winners of the 1920s, who possessed these characteristics, were often reported in newspapers. First Miss America, Margaret Gorman, was praised for “possessing the basic virtues of American womanhood”.²¹ Similarly, the 1922-23 winner, Mary Campbell, was admired for her “innocent, wholesome, and traditional” demeanor. The 1924 winner, Ruth Malcomson, stood out for rarely wearing makeup and never having visited a hairdresser. The 1927 winner, Lois Delander, was recognized for her knowledge of Bible verses, along with her refusal to use makeup or tobacco. The Washington Post reported that she was an “Unbobbed high school student.”. The New Britain Herald reported that the 1925 winner, Fay Lanphier, had “blonde unbobbed hair and did not engage in smoking cigarettes,”. The New York Times reported that the 1926 winner, Norma Smallwood, was a “Western girl whose hair was unbobbed.”.²² Overall, pageant promoters wished for these women to represent traditional, Victorian-like ideals of femininity, hoping they would serve as models for other women.

Miss America & The Suffragette

While the “Miss America” pageant openly defied the image of the “modern” flapper, it also subtly defied another kind of “New Woman” of the 1920s, the woman in politics. The concept of a “pageant” has ties to women’s groups of the 19th century, including reform groups, church groups, and schoolteachers. These groups practiced “pageantry” as a form of public entertainment to promote their movements and goals. As early as 1848, the first Women’s Rights convention in Seneca Falls featured elements of pageantry to showcase women’s unity within the movement.²⁵ One of the primary goals of Women’s Rights advocates was the right to vote, known as suffrage. These “suffragettes” were inspired during their travels to England by the pageants hosted by British suffragists. The National American Woman’s Suffrage Association began hosting their own pageants in 1908 with the largest being held in 1913. The National Woman Suffrage Parade & Pageant in Washington D.C. was hosted the day before Woodrow Wilson’s inauguration. The pageant celebrated women’s contributions to democracy and society by dressing up as figures that represented “Lady Columbia”, “Liberty”, “Justice”, and “Peace”.²⁶ These suffragettes sought to raise awareness of their goals, celebrate their unity, and demonstrate their belief in women’s moral value to the vote. Many of these suffragettes would remain politically active in the 1920s, contributing to the presence of women in politics and reforms. They continued the practice of political pageantry through the “Equal Rights” pageants hosted by the Woman’s Party. The Miss America pageant incorporated elements that resembled these suffrage pageants. Not only was it also labeled a “pageant”, the Miss America pageant followed the suffrage tradition of holding parades. Contestants even wore sashes with the names of their states or cities, closely resembling those worn by suffragettes.²⁷ However, instead of promoting social progress and intellectualism, the “Miss America” pageant was based on beauty as defined by the male and public population. Rather than women’s unity under a shared movement, it encouraged competition. Lastly, instead of raising funds for a cause, it focused on commercialization and entertainment. The pageant acted as a reaction to, or alternative version of, the more political pageants, instead promoting a “less threatening” subservient image of women.

Significance

I chose the first Miss America pageant because I was unaware that its origins trace back to the 1920s. After its success in 1921, it quickly evolved from a small, city-based competition into a nationally recognized event attracting participants from across the country. Newspapers, and later radios, covered the pageants. While it became an anticipated event, it received backlash.

At first, the “Miss America” pageant seems like a trivial event. However, it can enhance our understanding of the decade. The first pageants of the 1920s embodied both the stereotypical image of the decade as one of entertainment, fun, and consumerism and as a response to, or even a challenge against, the changing cultural norms of the era. The pageant ironically included elements that strayed from the Victorian image while also reinforcing it. Religious-Women’s groups viewed the display of the female body for competition as immoral. To the perspective of many, it encouraged women to prioritize their beauty over other aspects of their life. It also served as a gateway to wealth, (an image often associated with the decade today) which was seen as immoral by religious groups. It reinforced older values by rejecting one of the most recognizable symbols of the decade, “The Flapper”. The pageant attempted to reject this “new modern woman” by rewarding contestants who resembled her as little as possible. It also provided a version of pageantry that did not showcase women and their social-political interests. 

The controversies that it experienced still remain relevant today, as the backlash seen in the 1920s resurfaced in the late 1960s and beyond. Women’s Liberation feminists argued that the pageant focused on “problematic beauty standards” and reduced women to their physical appearance.

Bibliography

Simon, Bryant. Boardwalk of Dreams: Atlantic City and the Fate of Urban America. New York: Oxford University Press, 2004.

Watson, E., ed. “There She Is, Miss America”: The Politics of Sex, Beauty, and Race in America’s Most Famous Pageant. New York: Palgrave Macmillan, 2004.

Riverol, Armando. Live from Atlantic City: The History of the Miss America Pageant Before, After, and in Spite of Television. “Chapter 2: The Frolicking ’20s,” 10-26.

Watson, Elwood, and Darcy Martin. “The Miss America Pageant: Pluralism, Femininity, and Cinderella All in One.” Journal of Popular Culture 34, no. 1 (June 1, 2000): 105–26. doi:10.1111/j.0022-3840.2000.3401_105.x. 

“History.” Miss America. Accessed March 20, 2025. https://missamerica.org/history/.

 Latham, Angela J. 1995. “Packaging Woman: The Concurrent Rise of Beauty Pageants, Public Bathing, and Other Performances of Female ‘Nudity.’” Journal of Popular Culture 29 (3): 149–67. doi:10.1111/j.0022-3840.1995.00149.x. 

Chapman, Mary. 1999. “Women and Masquerade in the 1913 Suffrage Demonstration in Washington.” Amerikastudien 44 (3): 343–55. https://research-ebsco-com.library2.ramapo.edu:2443/linkprocessor/plink?id=755f8783-eb91-350f-b634-02d97c8d0cb5. 

Moore, Sarah J. 1997. “Making a Spectacle of Suffrage: The National Women Suffrage..” Journal of American Culture (01911813) 20 (1): 89. doi:10.1111/j.1542-734x.1997.00089.x.https://research-ebsco-com.library2.ramapo.edu:2443/c/7frumr/viewer/pdf/ve7e6ydlxr 

Jones, Jennifer. 1998. “The Beauty Queen as Deified Sacrificial Victim.” Theatre History Studies 18 (June): 99–106. https://research-ebsco-com.library2.ramapo.edu:2443/linkprocessor/plink?id=3696314d-a08a-3a3a-9756-878c3fa4a653.

Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. New York: Hill and Wang, 1995. 

“Here Are the Winners in the Beauty Contest.” The Washington Post (1877–1922), July 24, 1921. ProQuest Historical Newspapers: New Jersey Collection, pg. 5. Chronicling America: Historic American Newspapers. Library of Congress.

“Camden Girl Is Chosen as Miss South Jersey for Pa. Geanta T Shore.” Camden Daily Courier, September 2, 1921. Chronicling America: Historic American Newspapers. Library of Congress.

“Seeks Beauty Contest Ban: Oklahoma Congressman Says Women Like Looks More Than Men.” New York Times, August 13, 1921, 13. ProQuest Historical Newspapers: The New York Times.

“ATTACKS BATHING REVIEW.: PREACHER SAYS ATLANTIC CITY EVENT ENDANGERS YOUTHFUL MORALS.” New York Times (1923–), September 11, 1923. http://library.ramapo.edu:2048/login?url=https://www.proquest.com/historical-newspapers/attacks-bathing-review/docview/103107222/se-2.

“Y.W.C.A. Opens War on Beauty Contest; Calls Atlantic City Parade Peril to Girls.” New York Times (1923–), April 18, 1924. http://library.ramapo.edu:2048/login?url=https://www.proquest.com/historical-newspapers/y-w-c-opens-war-on-beauty-contest-calls-atlantic/docview/103426053/se-2.

“New Queen of Beauty Has Not Bobbed Hair.” New Britain Herald, New Britain, CT, September 12, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn82014519/1925-09-12/ed-1/seq-1/

“Western Girl Wins Miss America Title: Miss Norma Smallwood of Tulsa.” Special to The New York Times. New York Times (1923–), September 11, 1926. ProQuest Historical Newspapers: New Jersey Collection, p. 15.

“CATHOLIC WOMEN’S RESOLUTION BANS BEAUTY CONTESTS: PROPOSALS THAT ATTACK EXHIBITION OF GIRLS BACKED BY 100. DELINQUENCY CITED; PARENTS BLAMED LEADERS IN WELFARE WORK SAY THEY FIND MENACE IN PULCHRITUDE SHOWS. CATHOLIC WOMEN HIT BEAUTY CONTESTS.” The Washington Post (1923–1954), September 27, 1927. http://library.ramapo.edu:2048/login?url=https://www.proquest.com/newspapers/catholic-womens-resolution-bans-beauty-contests/docview/149667923/se-2.

“Catholic Women Adopt Ban on Beauty Contests: Exploitation of ‘Feminine Pulchritude’ for ‘Commercial Purposes’ is Denounced in Resolution Approved Unanimously by National Council Convention. CATHOLIC WOMEN BAN BEAUTY COMPETITIONS.” The Washington Post (1923–1954), September 29, 1927. http://library.ramapo.edu:2048/login?url=https://www.proquest.com/newspapers/catholic-women-adopt-ban-on-beauty-contests/docview/149693598/se-2.

“Miss Illinois, Blonde, Wins Beauty West Contest: 16-Year-Old Unbobbed …” The Washington Post (1923–1954), September 10, 1927. ProQuest Historical Newspapers: New Jersey Collection.

Paul Thompson. Literary Suffragettes. [ca. 1913]. Topical Press Agency, Hulton Archive, Getty Images. Photograph.

L & M Ottenheimer, publisher. Liberty and Her Attendants – (Suffragette’s Tableau) in Front of Treasury Bldg. March 3, 1913 – Washington, D.C. National Woman’s Party Records. Library of Congress.

R.C. Maxwell Company. BOARDWALK. [CROWD LOOKING AT CAMERA], EASTER, MARCH 27, 1921. Maxwell No. 1555. R.C. Maxwell Company Records. David M. Rubenstein Rare Book & Manuscript Library, Duke University.

Bettmann Archive. Contestants at the 1921 Pageant; Miss Atlantic City (Florence Burke), Miss Philadelphia, and Miss Washington, DC. [1921]. Photograph.

Bettmann Archive. Miss America 1927 Lois Delander of Joliet, Illinois. Photograph. 1927.

Bettmann Archive. Large Crowd During Street Parade. Original Caption: Atlantic City: Neptune and Miss America in the parade. Photograph.

Bettmann Archive. Pageant Attendees Posing Outdoors. Mr. & Mrs. Howard Chandler Christie & Miss Gorman at the Atlantic City Pageant. Photograph.

Bettmann Archive. Beauty Pageant Winner and Mythological Accomplice. Original Caption: Atlantic City, N. J.: Miss Margaret Gorman (Miss America) with Hudson Maxim as “Neptune” at the Atlantic City Beauty Pageant. Photograph.

Bettmann Archive. “Miss America Contestants Pose for Photograph.” Photograph.

Featured Image: Bettmann Archive. “American Beauty Pageants Winners. Far left Miss Mary Katherine Campbell (retained title); far right, Miss Margaret Gorman, Miss America in 1921 in gowns.” Photograph. Circa 1922. Bettmann Collection via Getty Images.

Additional Sources

“1920s.” Maxwell Did It!: Photographing the Atlantic City Boardwalk, 1920s-1950s. Duke University Libraries. Accessed March 20, 2025. https://exhibits.library.duke.edu/exhibits/show/maxwell/1920s.

“Beauty Pageant Origins and Culture.” American Experience. PBS. Accessed March 20, 2025. https://www.pbs.org/wgbh/americanexperience/features/missamerica-beauty-pageant-origins-and-culture/.”

“Woman Suffrage Pageants.” National Park Service. Accessed March 20, 2025. https://www.nps.gov/articles/000/suffrage-pageants.htm

PBS. “Miss America Timeline.” American Experience. Last modified March 3, 2025. https://www.pbs.org/wgbh/americanexperience/features/miss-america-timeline/.

“History.” Miss America. Accessed March 20, 2025. https://missamerica.org/history/.

Ware, Susan. “Sashes and Suffrage.” New York Times, August 15, 2020. https://www.nytimes.com/2020/08/15/opinion/sashes-suffrage-19th-amendment.html.

Citations

1. R.C. Maxwell Company, BOARDWALK. [CROWD LOOKING AT CAMERA], EASTER, MARCH 27, 1921, Maxwell No. 1555, R.C. Maxwell Company Records, David M. Rubenstein Rare Book & Manuscript Library, Duke University. ︎
2. Bryant Simon, Boardwalk of Dreams: Atlantic City and the Fate of Urban America (New York: Oxford University Press, 2004), 19-24. ︎
3. Lynn Dumenil, The Modern Temper: American Culture and Society in the 1920s (New York: Hill and Wang, 1995), 85-86. ︎
4. Dumenil, The Modern Temper, 32. ︎
5. Armando Riverol, Live from Atlantic City: The History of the Miss America Pageant Before, After, and in Spite of Television (Bowling Green, OH: Bowling Green State University Popular Press, 1992), 12. ︎
6. “Here Are the Winners in the Beauty Contest.” The Washington Post (1877-1922), July 24, 1921. ProQuest Historical Newspapers: New Jersey Collection, pg. 5. Chronicling America: Historic American Newspapers. Library of Congress. ︎
7. “Camden Girl Is Chosen as Miss South Jersey for Pa. Geanta T Shore.” Camden Daily Courier, September 2, 1921. Chronicling America: Historic American Newspapers. Library of Congress. ︎
8. Bettmann Archive, Pageant Attendees Posing Outdoors. Mr. & Mrs. Howard Chandler Christie & Miss Gorman at the Atlantic City Pageant; and Beauty Pageant Winner and Mythological Accomplice. Original Caption: Atlantic City, N. J.: Miss Margaret Gorman (Miss America) with Hudson Maxim as “Neptune” at the Atlantic City Beauty Pageant, Photographs. ︎
9. Riverol, Live from Atlantic City, 12-16. ︎
10. Riverol, Live from Atlantic City, 17-18. ︎
11. Bettmann Archive, Large Crowd During Street Parade. Original Caption: Atlantic City: Neptune and Miss America in the parade, Photograph. ︎
12. Bettmann Archive, Miss America 1927 Lois Delander of Joliet, Illinois, Photograph, 1927. ︎
13. Riverol, Live from Atlantic City, 22. ︎
14. Dumenil, The Modern Temper, 169-171. ︎
15. Angela J. Latham, “Packaging Woman: The Concurrent Rise of Beauty Pageants, Public Bathing, and Other Performances of Female ‘Nudity,’” Journal of Popular Culture 29, no. 3 (1995): 158. ︎
16. “ATTACKS BATHING REVIEW.: PREACHER SAYS ATLANTIC CITY EVENT ENDANGERS YOUTHFUL MORALS.” New York Times (1923-), Sep 11, 1923. http://library.ramapo.edu:2048/login?url=https://www.proquest.com/historical-newspapers/attacks-bathing-review/docview/103107222/se-2. ︎
17. “Y.W.C.A. Opens War on Beauty Contest; Calls Atlantic City Parade Peril to Girls.” New York Times (1923-), Apr 18, 1924. http://library.ramapo.edu:2048/login?url=https://www.proquest.com/historical-newspapers/y-w-c-opens-war-on-beauty-contest-calls-atlantic/docview/103426053/se-2. ︎
18. “Catholic Women Adopt Ban on Beauty Contests: Exploitation of “Feminine Pulchritude” for “Commercial Purposes” is Denounced in Resolution Approved Unanimously by National Council Convention. CATHOLIC WOMEN BAN BEAUTY COMPETITIONS.” The Washington Post (1923-1954), Sep 29, 1927. http://library.ramapo.edu:2048/login?url=https://www.proquest.com/newspapers/catholic-women-adopt-ban-on-beauty-contests/docview/149693598/se-2 ︎
19. “Seeks Beauty Contest Ban: Oklahoma Congressman Says Women Like Looks More Than Men.” New York Times, August 13, 1921, 13. ProQuest Historical Newspapers: The New York Times. ︎
20. Elwood Watson, ed., There She Is, Miss America: The Politics of Sex, Beauty, and Race in America’s Most Famous Pageant (New York: Palgrave Macmillan, 2004), 36-38. ︎
21. Elwood Watson and Darcy Martin, “The Miss America Pageant: Pluralism, Femininity, and Cinderella All in One,” Journal of Popular Culture 34, no. 1 (June 1, 2000): 107. ︎
22. “Miss Illinois, Blonde, Wins Beauty West Contest: 16-Year-Old Unbobbed …,” The Washington Post (1923–1954), September 10, 1927, ProQuest Historical Newspapers: New Jersey Collection; “New Queen of Beauty Has Not Bobbed Hair,” New Britain Herald (New Britain, CT), September 12, 1925, Chronicling America: Historic American Newspapers, Library of Congress, https://chroniclingamerica.loc.gov/lccn/sn82014519/1925-09-12/ed-1/seq-1/; “Western Girl Wins Miss America Title: Miss Norma Smallwood of Tulsa,” special to The New York Times, New York Times (1923–), September 11, 1926, p. 15, ProQuest Historical Newspapers: New Jersey Collection. ︎
23. L & M Ottenheimer, publisher, Liberty and Her Attendants – (Suffragette’s Tableau) in Front of Treasury Bldg. March 3, 1913 – Washington, D.C., National Woman’s Party Records, Library of Congress. ︎
24. Paul Thompson, Literary Suffragettes, ca. 1913, Topical Press Agency, Hulton Archive, Getty Images; and Bettmann Archive, Contestants at the 1921 Pageant; Miss Atlantic City (Florence Burke), Miss Philadelphia, and Miss Washington, DC, 1921, Photographs. ︎
25. Jennifer Jones, “The Beauty Queen as Deified Sacrificial Victim,” Theatre History Studies 18 (June 1998): 102. ︎
26. Mary Chapman, “Women and Masquerade in the 1913 Suffrage Demonstration in Washington,” Amerikastudien 44, no. 3 (1999): 344-345. ︎
27. Jones, “The Beauty Queen as Deified Sacrificial Victim,” 102. ︎

grlynn

Grlynn is a Ramapo College senior majoring in history

Bessie Coleman was a culmination of ‘firsts’ in one person. She was the first African American to be awarded an international pilot’s license, the first Black woman in the world to fly an airplane, and the first Native American to earn a pilot’s license and fly an airplane.¹ She was also likely the first person in her family to attend college for a full semester, and was the key catalyst in helping her family of independent women find their own paths as they moved from Texas to Chicago. Beyond all of these individual achievements, she also served as an inspiration for future women and African Americans who would follow in her footsteps or be the ‘firsts’ of their own professions. 

Early Life

Bessie Coleman was born on January 26, 1892 as Elizabeth Coleman. She grew up in Waxahachie, Texas, to a mom who was African-American and a dad who was part African-American and part Native American. In 1901, her father left for Oklahoma, also known as ‘Indian Territory’, in order to find more job opportunities. A few years later, her older brothers also left for Chicago, leaving Bessie as the oldest sibling to her three younger sisters. Even though she loved school and took advantage of the little opportunities presented to her in her one room, segregated schoolhouse, her childhood was filled with the king crop of the time, cotton. Each spring, Bessie’s school would close down for “cotton season” and Bessie, as soon as she was strong enough, had to go with her mother to pick cotton.² From a young age, Bessie hated the restrictions placed upon her in the South, and would frequently ‘slack off’ during her time working in the fields. She continued her interrupted education, and saved enough money to attend one semester of college at the Oklahoma Colored Agricultural and Normal University. After one semester at the college, her money ran out and she had to go home. But, at 23 years old, having had enough of the segregation and limited opportunities in the South, she decided to join her brothers in Chicago. 

Bessie Coleman, like many other Black Americans during the early 20th century, moved from the South to Chicago during the Great Migration. Searching for better job opportunities and an escape from the severity of the Jim Crow South, she was a part of the “burgeoning black population in northern cities [that] had led to the growth of a middle class which seemed to represent the potential of the race.” ³ Because so many Black people were moving from Southern cities to the North, they banded together in ethnic enclaves, similar to many other minority groups and immigrants. In these enclaves, they had better opportunities for work and social mobility than they had in the South with strict Jim Crow laws. Even though Black people in the North faced the same segregation that they faced in the South, the community they built in cities like Chicago and New York City allowed Black migrants the ability to obtain jobs they could not have in the South. This combination of community and pluralistic identity gave the opportunity for a certain level of social mobility that would have been unobtainable for them previously. 

In Chicago, Bessie continued to dream of being something more than just a ‘common’ Black worker. Through her work as a manicurist, Bessie met many successful and influential people in Chicago’s Black community. These people further inspired her to want more for her future and her race. Although Chicago was segregated like the South, Bessie saw a flourishing Black community where people of her race could be successful. It was a combination of these successful people, as well as her brother’s experiences abroad, that convinced Bessie to pursue a future in aviation. After trying and failing to find someone to teach her how to fly, Bessie’s brother told her that “You n*gger women ain’t never goin’ to fly…not like those women I saw in France.”⁴ It was these harsh words from her brother which finally inspired her to go abroad—to France—to obtain her pilot’s license. 

Aviation Career

While I outline most of Bessie’s important aviation accomplishments in the timeline below, the start of her aviation career is also important. As Bessie tried to find a school or a pilot to teach her how to fly in America, Bessie was faced with two problems. First, no one wanted to teach a Black aviator, and second, no one wanted to teach a Black girl aviator. So, she turned her visions overseas, to the Ecole d’Aviation des Frères Caudron at Le Crotoy. During her time at Crotoy, she saw a student pilot die in a brutal plane accident, which she explains “was a terrible shock to my nerves, but I never lost them. I kept going.” ⁵ Bessie obtained her pilot license from the Fédération Aéronautique Internationale (FAI) despite the threat of discrimination, segregation, or death. At the time, the FAI was the only international organization giving people the right to fly anywhere in the world.⁶ So Bessie returned as an internationally recognized Black woman pilot. She was ready to show the country that anyone who put their mind to it could take to the sky. 

As outlined in this timeline, Bessie performed a number of important entertaining shows. First, she performed the first air show performed by a Black woman. Next, she was the first person to offer plane rides to Black people in the South. In one of her shows, she was also the first person to have a Black woman parachutist jump from a plane. While Bessie was always passionate about aviation, her true passion was equality. She even left a movie planning to depict her life because they wanted to present her in “tattered clothing and with a walking stick and a pack on her back.” ⁷ She continued to emphasize the interconnectedness of her race and her success beyond leaving the racist movie set. She refused to perform at a show in her hometown where Black and White audience members would use segregated entrances. Once they agreed to let everyone use the same entrance, Bessie agreed to give the performance.⁸ 

Bessie’s biggest hope for her aviation career was to raise funds in order to open a school to educate future Black pilots. Throughout her career, she dedicated many shows and lectures to fundraising for this cause. She even settled down in Orlando, opening up a beauty school and focusing on lecturing rather than performing stunt shows, to raise more money to create this school for future Black students. In the last weeks of her life, she found her benefactor in Edwin M. Beeman, son of Harry L. Beeman, the creator of Beeman chewing gum. At the same time, she was living with Viola and Hezakiah Keith Hill, who reintroduced her to religion, and encouraged her to stop performing stunt shows and focus on targeting church crowds for funding for her school. Before her final show, she told the Hills that “the time she had spent with them was the happiest she had ever known.” ⁹

Death

Just as her life was seeming to come together, with funding, found family, and a sense of happiness and religion, Bessie’s life came to a sudden end. Bessie had plans to perform on May 1, 1926, in a stunt show in the Negro Welfare League of Jacksonville’s Field Day. For this show, she was serving as the parachuter herself, with a white pilot, William D. Wills, flying the plane. She used the money from her benefactor Edwin M. Beeman to buy an old “Jenny” which she intended to fly at the Florida show. Wills flew the plane from Dallas, Texas, to Jacksonville and was forced to make two stops due to the poor condition of the plane. Despite the poor condition of the plane, Bessie met Wills and her agent and the promoter of her stunt show, John Betsch, at the field at 7:15am on April 30, to scout the area for where the best spot to jump would be. ¹⁰ She was not strapped into the plane, as she was actively searching for somewhere to jump. Suddenly, the plane went from cruising at 80 miles per hour to 110 miles per hour, and nose dived downwards. At 1,000 feet, the plane did a tail spin, and then at 500 feet, it flipped upside down, and Bessie fell out, somersaulting repeatedly until she hit the ground.¹¹ Wills attempted to regain control of the plane, but it crashed into a nearby farm of Mrs. W. L. Meadows, killing him instantly. After the plane crashed in Meadows’ farm, Betsch, came with police to view the remains of the crash. Upon seeing the crash site, he lit a cigarette to calm his nerves. But, when lighting the cigarette, the lighter fluid mixed with the gasoline of the plane, setting everything on fire. He was immediately taken into custody under suspicions of trying to destroy evidence, but he was later released. After the tragic death and fire, the fair and dance in Bessie’s honor that were supposed to be held afterwards were replaced with a memorial service, which over 5,000 people attended. 

Aside from her memorial in Jacksonville, Bessie had another memorial in Orlando, organized by Viola and Hezekiah Hill. After this service, Viola Hill and a military escort traveled with her body to Chicago, where over 10,000 people went to pay their respects throughout May 5 and May 6. Her final service, for close friends and family, was held on Friday May 7, and though only 1,500 people could fit inside the church, another 3,500 stood outside on the street.¹² The plethora of memorial services and viewing opportunities show just how much of an effect Bessie had on the Black community. Her death even received notice in white newspapers, such as The Morning Press, The Daily News, The Tampa Tribune, The Miami News-Record and many others. ¹³ While these newspapers had short descriptions and referred to Bessie as a ‘Negress’ or ‘Negro aviatrix,’ many Black newspapers dedicated columns, front pages, and entire sections to her, even days after her death. In the Pittsburgh Courier, a black newspaper,  George S. Schuyler wrote a memorial to her, summing up Bessie’s hope for herself and her impression on the black community in a few sentences:  “Bessie Coleman wanted to be an aviatrix and would not be frustrated by racial barriers. She succeeded in spite of them. More and more younger Negroes are following in her example. Many more ought to.” ¹⁴

Bessie’s Significance in the 1920s and Beyond

Growing up African-American in the early 20th century, Bessie Coleman was a prime example of the struggles of handling a pluralistic identity during the 1920s. As the first Black woman to fly an airplane and the first Black person to hold an international pilot’s license, Bessie Coleman strived to help improve the opinions of Black people in professional fields as she broke the glass ceiling in the aviation field. She had the similar mindset to other Civil Rights activists during the 1920s, which was that the issue of “twoness could be resolved–that they could be both American and black, without sacrificing either.”¹⁵ The struggle of handling pluralism and American identity was an obstacle in Bessie’s work as an aviator, but she also used her multiple identities of being Black and a woman to inspire future generations. The discrimination, segregation and limited attention to her achievements and her advancements in women’s working rights all connect Bessie to the larger struggles experienced by minority populations in the 1920s. 

Combating Segregation

Bessie’s biggest focus in her aviation career was to establish a school to educate future Black pilots, because of the segregation and discrimination she faced when obtaining her education. Many times throughout her life, she was quoted as saying that “We must have aviators if we are to keep up with the times. I shall never be satisfied until we have men of the Race who can fly.” ¹⁶ She wanted others to follow in her footsteps, and show people who believed that African-Americans were not as smart as White Americans that they could succeed just as much when given the opportunity. Her willingness to branch out into a field severely underpopulated with both Black people and women helped inspire future aviators of her race to do the same:  “Coleman’s return to the U.S. in 1921 as a fully qualified pilot helped African Americans reclaim some agency in aviation.” ¹⁷ Even though a very limited number of Black people had served as pilots in segregated forces in WWI, there was no space for them in the aviation field when they returned to the United States after the war. Further efforts, like refusing to perform at segregated shows in the South, shows her efforts throughout her career to improve the discrimination and segregation that she faced herself. 

While Bessie was never able to open her school for Black pilots, she did inspire many future Black pilots with her resilience and determination despite the segregation she faced. Wiliam J. Powell, a famous Black aviator who founded the Bessie Coleman Aero Club in her honor, dedicated his book “Black Wings” to her.¹⁸ Powell, like Coleman, pushed for more Black aviators, and built a school for Black pilots and mechanics, as Bessie was unable to. Even though he created this school after her death, Bessie still had a profound impact on Powell and inspired him to continue her work in improving opportunities for Black Americans. 

Paving the way for Future Minorities

Through Bessie’s hard work to become a pilot despite the discrimination she faced, she helped pave the way for future women and Black people in fields dominated by white men. In her article on the legacy of Bessie Coleman and Dr. Mae Jemison, Kim Creasman explains that “women like Bessie Coleman, the first African-American female pilot, have shown us that there are many qualified women in our society to take a chance to modify the stereotypes of women and African-Americans.” ¹⁹ Even in the present day, Bessie stands as an inspiration for people trying to get involved in fields that are historically exclusionary towards them. As the 1920s, especially in the South, were not only segregated but outright racist and exclusionary to Black professionals, Bessie’s success and mention in a multitude of White newspapers was “sure evidence of the revolutionary change, however slow, subtle, or imperceptible, she was effecting on white attitudes towards blacks, at least in her home state of Texas.” ²⁰ Though the 1920s were still filled with discrimination and lack of opportunities for Black men and women alike, Bessie was one of the many cases of extraordinary women who succeeded despite the lack of opportunities for her, which inspired young minds in the 1920s and beyond.

While she may not have received recognition from white communities during her lifetime, Bessie was an inspiration to black communities and future black aviators alike, like Lieutenant William J Powell. Powell explains how Bessie inspired a future generation because of her willingness to break into a majority-white field:  “Because of Bessie Coleman we have overcome that which was much worse than racial barriers. We have overcome the barriers within ourselves and dared to dream.” ²¹ Just like his Bessie Coleman Aero Club, many other organizations were created after her death to honor her and help financially support Black women and men who wanted to go into aviation or similar fields. Organizations like the Aviation Youth Empowerment Foundation have scholarships honoring Bessie Coleman, presented to women, Black Americans, future aviators and future STEM students who have overcome barriers to obtain their college degrees. In the years after her death, many roads were renamed in her honor. In 1996, the US Post office created a stamp in her honor, as a part of the Black Heritage Stamp Series, as seen to the right. Even though it took many years for Bessie’s death and accomplishments to be fully recognized by the American public, she served as an inspiration to Black Americans and women that they could pursue any career they wanted, as long as they put their mind to it.

Suggested Reading

Cline, P.E. “The Intersection of Race, Gender, and Socio-Economic Status in the Life of Bessie Coleman.” Collegiate Aviation Review International, 2019, 37(2), 133-156. Retrieved from http://ojs.library.okstate.edu/osu/index.php/CARI/article/view/7915/7308

Grossman, Ron. “That Road o’hare Is on? It’s Named for Bessie Coleman, Who 100 Years Ago Became the First Black Woman Pilot in America.” Chicago Tribune, November 24, 2021. https://www.chicagotribune.com/2021/11/24/that-road-ohare-is-on-its-named-for-bessie-coleman-who-100-years-ago-became-the-first-black-woman-pilot-in-america/. 

Lebow, Eileen F. Before Amelia: Women Pilots in the Early Days of Aviation. (Washington, D.C.: Potomac Books, 2002).

Mathias, Marisa, and Mariana Brandman. “Biography: Bessie Coleman.” National Women’s History Museum. Accessed April 7, 2025. https://www.womenshistory.org/education-resources/biographies/bessie-coleman. 

Bibliography

Bix, Amy Sue. “Beyond Amelia Earhart: Teaching about the History of Women Aviators.” OAH Magazine of History 24, no. 3 (2010): 39–44. http://www.jstor.org/stable/25701421.

“Crash Kills 2 Flyers” The Daily News, (New York, NY), May 1, 1926. p. 5

Creasman, Kim. “Black Birds in the Sky: The Legacies of Bessie Coleman and Dr. Mae Jemison.” The Journal of Negro History 82, no. 1 (1997): 158–68. https://doi.org/10.2307/2717501.

Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. United States: Hill and Wang, 2024.

“Man and Negress Killed in Accident Near Jacksonville” The Tampa Tribune, (Tampa, FL), May 1, 1926, p. 5

“Negro Aviatrix Killed When Plane Falls” Miami News-Record, (Miami, FL), April 30, 1926, p. 1

“Negro Woman Flier and Press Agent Die in Plane Fall” The Morning Press, (Santa Barbara, CA), May 1, 1926. p. 5

Powell, William J. Black Wings. HathiTrust. Originally published 1934. Accessed April 7, 2025. https://babel.hathitrust.org/cgi/pt?id=uc1.b4500439&seq=9&q1=bessie. 

Rich, Doris L. Queen Bess: Daredevil Aviator. (Washington, D.C.: Smithsonian Institution Press, 1993.) 

Schuyler, George S. “Views and Reviews” Pittsburgh Courier, (Pittsburgh, PA), May 15, 1926, p. 9 

Slotnik, Daniel E. “Overlooked No More: Bessie Coleman, Pioneering African-American Aviatrix.” The New York Times, December 11, 2019. 

1. Daniel E. Slotnik “Overlooked No More: Bessie Coleman, Pioneering African-American Aviatrix.” The New York Times, December 11, 2019. ︎
2. Rich, Doris L. Queen Bess: Daredevil Aviator. (Washington, D.C.: Smithsonian Institution Press, 1993,) 10. ︎
3. Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. United States: Hill and Wang, 2024, 286. ︎
4. Rich, Queen Bess, 1993, 27. ︎
5. Rich, Queen Bess, 1993, 32. ︎
6. Rich, Queen Bess, 1993, 34. ︎
7. Rich, Queen Bess, 1993, 57. ︎
8. Rich, Queen Bess, 1993, 95. ︎
9. Rich, Queen Bess, 1993, 105. ︎
10. Rich, Queen Bess, 1993, 109. ︎
11. Rich, Queen Bess, 1993, 110. ︎
12. Rich, Queen Bess, 1993, 113. ︎
13. While a number of white newspapers reported on Coleman’s death, the ones mentioned here are; “Crash Kills 2 Flyers” The Daily News, (New York, NY), May 1, 1926. p. 5; “Man and Negress Killed in Accident Near Jacksonville” The Tampa Tribune, (Tampa, FL), May 1, 1926, p. 5; “Negro Aviatrix Killed When Plane Falls” Miami News-Record, (Miami, FL), April 30, 1926, p. 1; “Negro Woman Flier and Press Agent Die in Plane Fall” The Morning Press, (Santa Barbara, CA), May 1, 1926. p. 5 ︎
14. Schuyler, George S. “Views and Reviews” Pittsburgh Courier, (Pittsburgh, PA), May 15, 1926, p. 9  ︎
15. Dumenil, The Modern Temper, 2024, 294. ︎
16. Rich, Queen Bess, 1993, 36. ︎
17. Amy Sue Bix. “Beyond Amelia Earhart: Teaching about the History of Women Aviators.” OAH Magazine of History 24, no. 3 (2010): 41. ︎
18. Powell, William J. Black Wings. HathiTrust. Originally published 1934. Accessed April 7, 2025, 1. ︎
19. Kim Creasman. “Black Birds in the Sky: The Legacies of Bessie Coleman and Dr. Mae Jemison.” The Journal of Negro History 82, no. 1 (1997): 158. ︎
20. Rich, Queen Bess, 1993, 87. ︎
21. Powell, Black Wings, 1934. ︎

hannahsteinlauf

Hannah Steinlauf is a senior history major with a minor in museum and exhibition studies at Ramapo College. She is a student research aide for the Jane Addams Papers Project. She is a member of the Ramapo College Dance Company and Tri Sigma. Hannah is going to attend Trinity College Dublin for a masters degree in Public History after graduation.

As the context in which history is interpreted changes, historical interpretations change as well. For example, the way that historians view minority groups today is very different from how historians viewed minority groups in the 1920s. In the same vein, historians’ entire outlook on a decade can change with time. This historiographical change is apparent in two pieces of writing on the 1920s which I read:  “Shifting Perspectives on the 1920s,” written by Henry May in 1956, and “The New Woman and the Politics of the 1920s”  written by Lynn Dumenil in 2007. While both articles argue the transitional and fluid nature of the 1920s, they emphasize different parts of this decade’s history, with May’s article focusing on economic and social change, and Dumenil’s article focusing on women and political change. 

Comparison

In Henry May’s article, he focuses more on different trends in historical writing over different decades. First, he outlines how historians felt in the 1930s:  that the twenties “became a deplorable interlude of reaction.”¹ Then, he explains how historians felt in the 1940s:  that “in the twenties a deep chasm had opened between the views of life of most writers and their fellow citizens.”² And finally, he provides his viewpoint, how historians feel in the 1950s:  that “the most important developments in the decade did not take place in the realms of politics, or economics, or literature, or science alone, but in all these areas and the relation, or lack of relation, among them.”³ Essentially, what these three quotes show is that May outlined three distinct views of the twenties, from one that saw them as reactionary, to one that saw them as having a large divide between the upper and lower class, to one that saw them as a period of separate movements that all encouraged change. May’s main focus was on larger themes of the 1920s, specifically looking at cultural, political, and economic trends to understand the decade.

On the other hand, Dumenil took an almost completely opposite approach. Instead of focusing on larger trends to understand the decade, Dumenil looked at more specific themes like women’s roles and their part in politics in order to understand and assess the decade. By looking through a gender-based lens, Dumenil shows women’s opportunity for influence in the public sphere while also showing the limitations women had in politics and work. Specifically, Dumenil’s main purpose in her article was to focus on “African American and white women’s efforts to expand their political influence once enfranchised. Their activism illustrates women’s role in developing political pressure groups in the early twentieth century and demonstrates both the continuation of reform—and its limits—in the so-called “jazz age.”⁴  Dumenil’s article focuses heavily on women and looks at minority involvement in making change in the 1920s.

Historiographical Changes Over Time

Overall, both of these historians have very different views on the 1920s, which are influenced by the 50 years of difference between their writing. While May was writing post WWII and on the dawn of the Cold War, he likely was looking at history in terms of political and economical struggles which were all still affecting his decade. While he discusses the different historical interpretations of the 1920s, he never calls any of them a “wrong” interpretation, as he follows consensus beliefs of shared American values, which he highlights in his interpretation of the decade. The large focus of his writing is on business and political history during the 1920s, specifically on how the boom and bust of the stock market influenced social change throughout the decade. Just like this photo to the right shows, people had a large increase in purchases with their disposable income in the 1920s, and quickly needed to sell these items in the 1930s, which is why, May argues, historians in the 1930s had a more negative view of the 1920s as they were actively dealing with the repercussions of this decade. While May takes into account many different perspectives of the 1920s, he completely ignores the New Woman and the plethora of contributions made by minorities in the 1920s.

Fifty years later, the context for Dumenil’s writing is very different from the world that May was writing in. During the multicultural wave of the 21st century, Dumenil wrote during a time that was focused on social and cultural history, minority history, and revisionist history. Her work which focuses on a group that was not always the highlight of 1920s historiography (specifically in regards to African American women) shows how, with time, historiography has become more liberal in its understanding of minority involvement in general trends and changes in history over time. Just as her article looks at women’s impact on the 1920s, Dumenil’s textbook, which we use in class, further looks at the impacts of minority groups in the 1920s. In The Modern Temper: American Culture and Society in the 1920s, Lynn Dumenil assesses how African Americans, women, immigrants and lower or working class citizens all had distinct impacts on the cultural and social reforms of the 1920s. She discusses each different minority group, and explains how overall, the impacts of these different minority groups on the 1920s helped to “broaden the definition of what it meant to be American.”⁵ Therefore, through Dumenil’s writing in a time which emphasized the importance of multicultural history we can see how much historical interpretations of the same decade have changed over time. Looking at past historical interpretations of history has shown me that while the facts of history have not changed, the way that history is understood changes depending on the context in which people are writing about it.

1. Henry May. “Shifting Perspectives on the 1920s,” Mississippi Valley Historical Review (Dec. 1956), p. 412. ︎
2. May, Shifting Perspectives, 1956, 418 ︎
3. May, Shifting Perspectives, 1956, 426 ︎
4. Lynn Dumenil. “The New Woman and the Politics of the 1920s.” OAH Magazine of History (July 2007), p. 22. ︎
5. Lynn Dumenil. The Modern Temper: American Culture and Society in the 1920s. United States: Hill and Wang, 2024, 302. ︎

hannahsteinlauf

Hannah Steinlauf is a senior history major with a minor in museum and exhibition studies at Ramapo College. She is a student research aide for the Jane Addams Papers Project. She is a member of the Ramapo College Dance Company and Tri Sigma. Hannah is going to attend Trinity College Dublin for a masters degree in Public History after graduation.

In the 1920s, American culture was increasingly becoming more secularized, creating tensions between modernity and traditional religious values. The first “Miss America” pageants embodied these conflicts, as it became both a target of religious resistance and a reflection of a callback to older ideas. Americans struggled to balance adapting to modernity while preserving their traditional beliefs and values. Religion was losing its influence on Americans with many standards straying away from the strictness of Victorian attitudes. Religion and Protestantism was no longer a dominant force in cultural norms and in efforts to maintain religion, urban churches started programs that created places of worship alongside spaces for social, recreational, and educational purposes. However, many religious leaders, including Protestant ministers and Jewish leaders, faced declining attendance and decreasing support for missionary efforts. These leaders viewed the popular culture of the 1920s, dominated by materialism and the pursuit of wealth, as a decline in religious values. Religious fundamentalists and Evangelical Christians also feared that the country was experiencing a moral and spiritual decline.¹ The first “Miss America” pageants of the 1920s serve as an example of an event that religious groups sought to oppose through protests, aiming to dismantle what they considered a moral decline. The “Miss America” pageant included a bathing suit competition, which many religious groups opposed. They sought to combat the rise of swimwear in the 1920s, particularly for women, viewing it as immoral and immodest. Moral outrage from clergymen contributed to the censorship of physical appearances on public beaches, as they insisted that women cover their knees.² This influenced the “Miss America” pageant because of its emphasis on “bathing beauties”. The pageant was met with further resistance with religious groups claiming it damaged the good choices, reputation, and morals of young women. Groups like Southern Baptists and the “Atlantic County Federation of Church Women”, joined in resistance and protest. Not only did they believe it damaged women’s morals, but they also viewed it as the exploitation of women for financial gain and corrupting them by encouraging rivalry among themselves.³ These protests are credited as having an important role in why the pageant was temporarily paused in 1928 through the early 30s.

Ironically, while traditional religious groups opposed the pageant for being “immoral”, it was an event that eagerly promoted a “traditional” and “conservative” idea of femininity. The “Miss America” pageant aimed to uphold the image of a more traditional woman, distancing itself from  the “New Woman,” represented by women in politics and flappers. Before the “Miss America” pageant was established in 1921, suffragettes held suffrage pageants. They dressed up as influential women in history, seeking to raise public awareness and funds for their political efforts.⁴ However, the “Miss America” pageant focused only on beauty, based on what men and the audience viewed as beautiful. In addition, the pageant strived to distance itself from the flapper image. Flappers were young, single women who strayed away from Victorian constraints by wearing bobbed hair, shorter and less shaped skirts, darker makeup, and smoked. In contrast, the “Miss America” pageant praised “non threatening” women who had conservative hairstyles such as longer hair, were more subservient, viewed beauty as an important goal, and demonstrated capability of being a good wife, homemaker, and mother.⁵ Contestants who had longer hair were more often praised than those with bobbed or bobbed-like hair. It was an important characteristic for “Miss America” to have, especially in the earlier competitions. Pageant organizers also tried to portray the event as “above alcohol” or other habits such as smoking. Overall, the pageant wished to portray its winners as symbols of what a 1920s American woman “should be and look like”. While religious traditionalists viewed it as immoral, the pageant still sought to revive a more traditional ideal of Victorian-like femininity and virtue.

Bibliography

Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. New York: Hill and Wang, 1995.

Riverol, Armando. Live from Atlantic City: The History of the Miss America Pageant Before, After, and in Spite of Television. Bowling Green, OH: Bowling Green State University Popular Press, 1992.

Latham, Angela J. “Packaging Woman: The Concurrent Rise of Beauty Pageants, Public Bathing, and Other Performances of Female ‘Nudity.'” Journal of Popular Culture 29, no. 3 (1995): 149–67. https://doi.org/10.1111/j.0022-3840.1995.00149.x.

Watson, Elwood, and Darcy Martin. “The Miss America Pageant: Pluralism, Femininity, and Cinderella All in One.” Journal of Popular Culture 34, no. 1 (June 1, 2000): 105–26. doi:10.1111/j.0022-3840.2000.3401_105.x.  

Watson, E., ed. “There She Is, Miss America”: The Politics of Sex, Beauty, and Race in America’s Most Famous Pageant. New York: Palgrave Macmillan, 2004.

Bettmann Archive. Policewomen Checking Length Violations. Chicago, Illinois, 1921.

Bettmann Archive. 1924 Miss America from Philadelphia, Pennsylvania, Ruth Malcomson. 1924.

Thomas, Bob. Cinema Personalities, 1923, American Actress Colleen Moore. Popperfoto/Getty Images, 1923.

Featured Photo: Atlantic Foto Service. Contestants of the 1925 Miss America Pageant. Atlantic City, New Jersey, 1925.

Citations

1. Lynn Dumenil, The Modern Temper: American Culture and Society in the 1920s (New York: Hill and Wang, 1995), 169-186. ︎
2. Angela J. Latham, “Packaging Woman: The Concurrent Rise of Beauty Pageants, Public Bathing, and Other Performances of Female ‘Nudity,’” Journal of Popular Culture 29, no. 3 (1995): 158, https://doi.org/10.1111/j.0022-3840.1995.00149.x. ︎
3. Armando Riverol, Live from Atlantic City: The History of the Miss America Pageant Before, After, and in Spite of Television (Bowling Green, OH: Bowling Green State University Popular Press, 1992), 24. ︎
4. Elwood Watson, ed., “There She Is, Miss America”: The Politics of Sex, Beauty, and Race in America’s Most Famous Pageant (New York: Palgrave Macmillan, 2004), 28-29. ︎
5. Watson, “There She Is, Miss America”, 32. ︎

grlynn

Grlynn is a Ramapo College senior majoring in history

          Growing up as part Native American and part African-American in the early 20th century, Bessie Coleman was a prime example of the struggles of handling a pluralistic identity during the 1920s. During the 1920s, having multiple identities was difficult for people as the public was unable to see people’s multiple identities, like being both Black and American, or German and Jewish, or Chinese and a woman. As the first Black woman to fly an airplane and the first Black person to hold an international pilot’s license, Bessie Coleman strived to help improve the opinions of Black people in professional fields as she broke the glass ceiling in the aviation field.¹ She had the similar mindset to other Civil Rights activists during the 1920s, which was that the issue of “twoness could be resolved–that they could be both American and black, without sacrificing either.”² The struggle of handling pluralism and American identity was apparent throughout the entire decade, as people felt forced to choose between their two identities. But activists like Bessie Coleman fought to minimize that struggle for future generations.

Bessie Coleman, like many other Black Americans during the 1920s, moved from the South to Chicago during the Great Migration. Searching for better job opportunities and an escape from the severity of the Jim Crow South, she was a part of the “burgeoning black population in northern cities [that] had led to the growth of a middle class which seemed to represent the potential of the race.”³ Because so many Black people were moving from Southern cities to the North, they banded together in ethnic enclaves, similar to many other minority groups and immigrants. In these enclaves, they had better opportunities for work and for social mobility than they had in the South with strict Jim Crow laws. Even though Black people in the North faced the same segregation that they faced in the South, the community they built in cities like Chicago and New York City allowed Black migrants the ability to obtain jobs they could not have in the South. This combination of community and pluralistic identity gave the opportunity for a certain level of social mobility that would have been unobtainable for them previously. 

Black professionals like Bessie Coleman with her national successes—even if she had to go overseas for her education—inspired other Black professionals to strive for the same level of recognition. Especially when supported by Black Newspapers like the Chicago Defender, which emphasized Black achievements, people within the community could read about others achievements, and recognize, in the words of W. E. B. Du Bois “that African Americans had the capabilities to be educated, and moreover, to be equal citizens.”⁴ Bessie promoted these same ideals; not only did she refuse to perform at shows where Black people were not allowed admission, but she also “was determined to bolster black pride. She was supported in this by a black press that seized on her image as both role model and grist for editorials promoting black equality.”⁵ The large number of Black Newspapers that arose during a time in which the Harlem Renaissance was booming and Black culture in general was receiving more recognition not just in black communities but in slowly in white communities as well, shows how there was a small change in beliefs in recognition that Black people could be successful in the arts as well. 

Bessie Coleman’s life and death fits into the broader historical context of the 1920s because even though she was an extremely successful Black woman, and her death was widely recognized in Black Newspapers, like this Chicago Defender article to the right, and it was generally ignored in White newspapers, or downplayed as the newspaper focused on the death of her younger, less advanced white co-pilot, William Wills. 

 Similar to other successful Black people during the 1920s, her achievements were not widely recognized until years after her death. And while she struggled to make a name for herself in the white, male-dominated field of aviation, she concurrently worked to ensure that Black patrons had a space at her shows. Bessie carefully balanced her two-fronted fight “in defense of equal rights for blacks in a white-dominated society and equal rights for black women in a male-dominated black society.”⁶ Similar to other activists during the 1920s like Ida B. Wells or W. E. B. Du Bois, Bessie had to juggle her pluralistic identities and her professional goals.  Even though Bessie was a number of “firsts,” she was not the only Black person, or the only Black woman, who was pushing the boundaries during the 1920s and rising above the expectations society had for them. Just like other minorities in the 20th century, Bessie had to work harder than many other white people, and most of her accomplishments were not recognized until after her death. But, she helped pave the way for minorities in the years to follow. 

Bibliography

Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. United States: Hill and Wang, 2024. 

Rich, Doris L. 1993. Queen Bess: Daredevil Aviator. Smithsonian Institution Press (Washington, D.C.). 

Slotnik, Daniel E. “Overlooked No More: Bessie Coleman, Pioneering African-American Aviatrix.” The New York Times, December 11, 2019. https://www.nytimes.com/2019/12/11/obituaries/bessie-coleman-overlooked.html.

1. Slotnik, Daniel E. “Overlooked No More: Bessie Coleman, Pioneering African-American Aviatrix.” The New York Times, December 11, 2019. https://www.nytimes.com/2019/12/11/obituaries/bessie-coleman-overlooked.html.  ︎
2. Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. United States: 
   Hill and Wang, 2024, 294. ︎
3. Dumenil, 286. ︎
4. Dumenil, 289. ︎
5. Rich, Doris L. 1993. Queen Bess: Daredevil Aviator. Smithsonian Institution Press, (Washington, D.C.), 60 ︎
6. Rich, 60. ︎

hannahsteinlauf

Hannah Steinlauf is a senior history major with a minor in museum and exhibition studies at Ramapo College. She is a student research aide for the Jane Addams Papers Project. She is a member of the Ramapo College Dance Company and Tri Sigma. Hannah is going to attend Trinity College Dublin for a masters degree in Public History after graduation.

Ross’ Early Years

Nellie Tayloe Ross was born on November 29, 1876, in St. Joseph, Missouri, on a plantation owned by her maternal grandfather in Andrew County. Her parents were James Wynns Tayloe and Elizabeth Blair Green. Nellie’s family had been devastated by the Civil War’s aftermath; in response, she had always feared poverty. Ross’ education was facilitated by her brothers who aided in helping her learn how to read when she was 5 years old. She attended the Maxwell School with her brothers. To achieve a more successful future, her family moved to Miltonvale, Kansas. She attended the United Presbyterian Church and her mother was involved in women’s suffrage. Here, she witnessed her mother in a position of leadership, a position which her father had respected. Her southern upbringing and her mother had influenced her political beliefs. She remained a Democrat for most of her life and gained the belief from her mother that women’s traditional roles were compatible with public responsibilities.² After her mothers death, her family moved back towards the Missouri river into Omaha, Nebraska. There, she became a kindergarten teacher. In 1900, she went to visit relatives in Tennessee where she met and married her husband, William Ross. They moved to Cheyenne, Wyoming in 1902 and had four boys together. William started his own law practice and got involved in politics. He ran for governor and won with the state’s failing economy as his main concern.

The Election of Nellie Tayloe Ross

On September 25, 1924, her husband underwent an appendectomy. He died on October 2, just one month before the general election. The Democratic Party asked Nellie Tayloe Ross to be their candidate and after much convincing, she agreed. Both the Republican and Democratic parties held their conventions in Cheyenne on October 14 to choose their candidates. The Republican Party nominated Casper attorney and politician Eugene J. Sullivan. After receiving the Democratic nomination, Ross remained at home and let her friends lead the campaign. Political advertisements encouraged voters to support Ross because she promised to carry out her husband’s policies. This included policies that helped the economy and workers. They also portrayed her opponent, Sullivan, as a supporter of the founder of Sinclair Oil, Harry Sinclair, who was involved in the Teapot Dome Scandal. One advertisement in The Buffalo Voice encouraged voters to “Beat Texas to It,” encouraging Wyoming to become the first state to elect a female governor, as Miriam “Ma” Ferguson was also running for governor in Texas.⁶ While both Ross and Ferguson were the first women elected as governors in the U.S, Ross was sworn in first, earning her the title of “First Female Governor of the United States”. She defeated Sullivan by more than 8,000 votes. In addition, she even outperformed Republican Francis E. Warren, Wyoming’s senior U.S. Senator.⁷ On January 5, 1925, she was sworn in as governor of Wyoming during an inauguration ceremony in the Senate chambers in Cheyenne. She served as governor from 1925 to 1927.

Ross’ Governorship: Politics, Law, Economics, Prohibition, & Agriculture

The 1920s has the reputation of being a time of prosperity, economic growth, and the boom of the stock market. However, it differed from state to state. Before the Stock Market Crash of 1929 and the Great Depression, Wyoming was facing an economic depression. Ross would be among the governors who confronted this depression. Wyoming’s economy depended on livestock, business, farming, coal production, and the Union Pacific Railroad. In post-WW1 Wyoming, the loss of government contracts, declining demand for certain commodities, deflation, and the 1919 drought contributed to this economic depression. To tackle these problems, Ross proposed a plan to address the state’s budget deficit and outlined strategies for managing it. She found that railroad property values were lower than those in neighboring states and that many mining corporations owned large amounts of property while avoiding taxes. She believed that more equitable taxation could help resolve the issue. In the 1920s, businesses and businessmen were becoming more idealized, striving to present a more polished and positive image. At the same time, the issue of business taxes became a significant concern in response to previous revisions to tax laws. People, such as Secretary of the Treasury Andrew Mellon, sought to reduce business tax, while Ross was concerned with equitable tax within her state.⁸ Following this, she discovered that falling oil prices were causing shortfalls and that light oil production was decreasing. In response, she supported producing more black oil and using it to build state’s highways. To her disappointment, her proposals to explore commercial possibilities for black oil were declined. Banks were also failing. Between 1920-1924, 68 state and national banks had failed in Wyoming. Half had closed by 1924.⁹ To address banking closures, Ross proposed laws to protect banks and depositors. This included laws that made sure that people wouldn’t lose their money if a bank failed. Lastly, Ross answered to further tax concerns by supporting a bill that would give one-third of mineral royalties to public schools. This would help with reducing local taxes. However, it was not approved by the legislature.

When we think of the 1920s, we also often think of Prohibition, a time when alcohol was banned across the U.S. During the late 19th century and into the 1920s, women had entered the political arena. One popular reform amongst them was Prohibition. This led to the 18th Amendment and the Volstead Act that made the production, sale, and transportation of alcohol illegal. Women supported Prohibition because they believed male drinking led to reckless behavior, such as sexual excess, which harmed women and children in the home.¹¹ Ross, like these women, supported this law. She believed that the purchaser of alcohol was just as guilty as the bootlegger. She proposed a bill to enforce this, however, it was later declined by the legislature. During her term, she had to deal with two sheriffs who were involved in alcohol related acts. She received and agreed to a request from District Court Judge Metz to allow an investigation into Park County Sheriff William Loomis.¹² Loomis was accused of accepting pay from alleged bootlegger, Fay Willford, in protection money. Loomis faced charges for serving confiscated alcohol to prisoners, accepting bribes and protection money from Willford and James P. Morgan in relation to whiskey on Morgan’s property, and for appearing intoxicated in public. Ross ordered a removal of Loomis who she deemed unfit for his position. On June 17, 1925, The Park County Herald reported that “The Governor (Ross) having heard all the evidence, does find generally against the defendant, William H. Loomis”.¹³ Another Sheriff named Scott Hazen was charged with appearing intoxicated in public, taking confiscated alcohol for his own use, getting involved in a plan to transport and sell alcohol, and failing to serve warrants to known bootleggers while allowing speakeasies to operate. In response to his future hearings on this matter, he resigned from office.

In addition, Ross also dealt with several other issues, including farm and agricultural concerns, and protecting Wyoming’s claims to Colorado River water. Farm foreclosures and low prices were an issue in Wyoming. This prevented the settlement and expansion of farms on federal projects in Wyoming. Under her husband’s governorship, he had created a farm loan program which she continued by making it permanent. Later, Ross convinced Elwood Mead, the man behind water laws, and the Secretary of Interior, Herbert Work to review these projects. Mead explained that he could only point out the problems, and it was up to farmers and state officials to determine the additional funds and introduce legislation to address those issues. Ross worked with a man named George Kreutzer from the Bureau of Reclamation to address these issues. She used local newspapers to collect farmer’s concerns and seek help from the Bureau of Reclamation. She also created a reclamation committee made up of farmers to explain their challenges and issues to the Bureau of Reclamation.¹⁴

Women’s Rights, Feminism, Reform and Ross’ Views on Women

Beginning in the late 19th century and continuing into the 1920s, the “new woman” became more active in politics, with Ross serving as an example. They became political actors and lobbied for progressive reform. Suffrage was one of these reforms. Through this, women had gained the right to vote in 1920 with the ratification of the 19th Amendment. Wyoming, the state where Ross governed, however, already became the nation’s first suffrage state in 1869. This prompted many people and newspapers to declare Wyoming as the “Equality State”, further encouraging the election of Ross. Other reforms that “the new woman” supported included labor laws, which Ross had also aligned with. A suffragist named Grace Hebard had written to Ross in regards to a child labor bill. Ross responded by confirming her position on this issue claiming that the bill would be an important step in protecting the children of America. However, her child labor bill was later declined by the senate because of fear it would interfere with the rights of parents to give their children working roles.¹⁶ She also advocated for protective legislation to support female employees, but this proposal was also rejected. Ross continued to be dedicated to maintaining the welfare of workers. She supported and proposed mine safety legislation. These legislations were successfully approved.

While women became increasingly involved in politics, their views on women’s rights varied. Women, like Alice Paul and The Woman’s Party, advocated for the Equal Rights Amendment (ERA) that guaranteed equal rights for men and women. They believed that while suffrage was a major breakthrough in women’s political equality, the ERA would answer to the remaining limitations that women faced. This included the inability to execute contracts, unequal wages, and marriage property rights. In 1923, the legislation was introduced to Congress. Women like Julia Lathrop and Frances Perkins emphasized women’s distinctiveness, arguing that special labor protections tailored to their sex were necessary. This led them to reject the ERA in fear that it would undermine sex-based labor legislation that specifically protected women.¹⁷ Like these women, Ross held her own views on women’s roles, rights, and nature, which often left some feminists disappointed. Initially, many women’s rights advocates, suffragettes, and feminists viewed Ross’ election as a great victory. However, some women were left disappointed in Ross’ refusal to prioritize her influence on the women’s rights movement. Instead, she stated that her duty was to the people of Wyoming as their governor. In 1925, Hebard, the same woman who had written to Ross about a child labor bill, also suggested that Ross appoint women to positions in the Child and Animal Protection Board and the University Board of Trustees. This was left unanswered. Hebard continued to suggest that she attend a meeting of the “National League of Women Voters”, which Ross had declined.

Ross did believe in women’s capabilities within the political sphere and encouraged them to seek public office. However, she would often express her belief that a woman’s most important social role was being a wife and a mother. On March 28, 1926, The Brownsville Herald reported that “Although she (Ross) has faith in the future of America’s young womanhood and believes that ‘freedom of the younger generation of women will prove beneficial. Governor Nellie Tayloe Ross holds that the highest position of woman in life is matrimony and motherhood’”.¹⁹ Despite this, it did not stop her from believing in the importance of women in politics and positions of power. She was more concerned with the perception that engaging in politics had “unsexed” her.²⁰ She was committed to proving that despite her role in political power, she was still a feminine woman. In other words, femininity, politics, and public service were all compatible. While she praised motherhood, marriage, and domestic responsibilities, she also made it clear that women should not limit themselves to traditional roles alone.

Ross did not reject the traditional notion of women being wives and mothers. However, another reason for her distance from feminist ideology was the political climate of the 1920s. Politicians and political parties often supported women who did not engage in the feminist movement. If she had explicitly engaged in feminist activism, it is likely that she would not have been chosen as her party’s political candidate. She found herself having to prove that she could be as tough as any male politician while still maintaining her femininity. She advised women to not portray themselves as too “aggressive” when they entered office.²¹ Ross wanted people to support her because she was a capable candidate, not just because she was a woman. She hoped they would focus on her abilities and not discriminate against her because of her sex. In 1926, Ross responded to concerns that the entrance of women in politics would cause them to create havoc by exercising their newfound power. On January 24th, The Washington Post reported that she responded by stating, “It opens to woman the door for unbounded service and challenges her to prove whether she does possess high ideals.”.²² After losing her second-term election, she admitted regretting not doing more to appeal to women and challenge the sexist notions she faced.

Overall, despite Ross’ goal to distance herself from explicit feminist activism, she is still viewed as an important figure to women’s rights. Her title as the first woman governor in the U.S was and is still revered. She inspired other “new women” to get involved in the field of politics.

Wyoming’s Re-Election & Ross’ Post-Term

In 1926, The Democratic Party remained with her as their candidate for the next election. The Republican Party chose Frank Emerson, the state engineer. While Ross had won the 1924 election by a significant amount of votes, she did not succeed in re-election for a number of reasons. The most basic reason was that Wyoming was still an overwhelmingly Republican state, and the party had strengthened once again. Wyoming’s senior U.S. senator, Francis E. Warren, was believed to have been on the brink of passing away of old age. At the same time, Wyoming also had a Democratic junior senator, John B. Kendrick. If Ross had won re-election, she would have had the right to choose the next senior senator.²⁵ Republicans would not have preferred two Democrats. Another reason was that during the 1920s, the Klu Klux Klan had a resurgence, and many had controlled votes. Anti-immigrant sentiments and nativism surged during the decade, with Catholics and Catholic immigrants facing discrimination. Some Republicans portrayed Ross as a Catholic, which the KKK held hatred against. Lastly, Ross was a woman. Many still believed women were incapable of handling politics. Some female voters even believed that Ross didn’t automatically deserve their votes just because she was a woman. The Cody Enterprise reported on a woman who had voiced this. A woman named Mrs. Jenkins stated “What has Mrs. Ross done particularly to deserve the votes of women? Has she ever since taken any interest in Woman’s Suffrage? Has she ever been a delegate to a Woman’s Suffrage convention, to a Woman’s Christian Temperance meeting, to a Woman’s Relief Corps convention, to a meeting of the Federation of Woman’s clubs for Wyoming?.”.²⁶ However, while she had lost, she remained in politics and Democratic women’s groups. In the 1930s, she became a campaign orator and was even later on appointed as Director of the U.S Mint by Franklin D. Roosevelt.

Significance

I chose Nellie Tayloe Ross’s achievement of becoming the first female governor in the U.S. because of my interest in women’s history. I was surprised to learn that a woman had already become a state governor as early as the 1920s. Ross’s victory was widely reported, with many 1920s newspapers covering her historic achievement and status as the first woman governor. It was perceived as a significant accomplishment.

The story of Nellie Tayloe Ross both reinforces and complicates our understanding of the decade. Common themes of the 1920s are flappers, economic prosperity, and prohibition. Flappers are known to have been young “new women” who strayed away from restrictive and traditional female roles. However, Ross represents a different kind of “new woman” who did the same. She was a woman involved in politics. Another aspect that her story demonstrates is that while women were increasingly becoming involved in politics, some had to distance themselves from feminism in order to gain support from male peers. Ross’ distance from feminism and her commitment to continuing what her husband left behind may explain why newspaper coverage of her victory was more positive than many people today would expect.

The theme of Prohibition is something many associate with the 1920s and Ross’ time as governor demonstrates that it is an accurate depiction. Prohibition had Americans question the amount of power the federal government possessed. Many people and certain senators argued that it violated the constitution by limiting states’ rights.²⁷ However, Ross’ stance on strict prohibition enforcement demonstrated that some state leaders supported it. She proved this by confronting two sheriffs who were accused of crimes associated with it.

Finally, Ross’s story complicates the common image of the 1920s as being filled with prosperity and fun. Wyoming was a state that was going through an economic depression and Ross’s election loss exposed a darker side of the decade. ​The KKK had reemerged and gained some influence in the political sphere.

Bibliography

Mackey, Mike. “Nellie Tayloe Ross and Wyoming Politics.” Journal of the West 42, no. 3 (2003): 25–34.https://research-ebsco-com.library2.ramapo.edu:2443/linkprocessor/plink?id=f5cae36e-3b49-3ace-ba5b-0cabe6b1f206

Scharff, Virginia. “Feminism, Femininity, and Power: Nellie Tayloe Ross and the Woman Politician’s Dilemma.” Frontiers: A Journal of Women Studies 15, no. 3 (March 1, 1995): 87–106. doi:10.2307/3346786.

Scheer, Teva J. 2005. Governor Lady: The Life and Times of Nellie Tayloe Ross. Columbia: University of Missouri Press.http://site.ebrary.com/id/10129006.

Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. New York: Hill and Wang, 1995.

“Beat Texas to It, and Elect Woman Governor,” The Buffalo Voice (Buffalo, Johnson County, WY), October 17, 1924. Chronicling America: Historic American Newspapers, Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92067096/1924-10-17/ed-1/seq-1/.

“Wyoming Inaugurates Nellie Tayloe Ross—First Lady Governor in United States.” Park County Herald (Cody, Wyo.), January 7, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92066928/1925-01-07/ed-1/seq-1/.

“Her Excellency, The Governess.” The Challis Messenger (Challis, Idaho), January 14, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn88056159/1925-01-14/ed-1/seq-3/.

“Evening Star.” Evening Star (Washington, D.C.), January 18, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn83045462/1925-01-18/ed-1/seq-96/.

“Wyoming Senate Rejects Child Labor Amendm’t.” The Cody Enterprise (Cody, Wyo.), January 21, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92066929/1925-01-21/ed-1/seq-1/.

“Armed Prohibition Force Guards Gov. Nellie Ross.” The Washington Post (1923-1954), April 11, 1925. ProQuest Historical Newspapers: The Washington Post, pg. 1.

“Gov. Ross Removes Loomis from Office.” Park County Herald (Cody, Wyo.), June 17, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92066928/1925-06-17/ed-1/seq-4/.

“Matrimony Is Proper Thing.” Brownsville Herald (Brownsville, Tex.), March 28, 1926. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn86063730/1926-03-28/ed-1/seq-5/.

“Woman Governor Sees No Havoc in Vote for Her Sex: Merely Opens Door…,” The Washington Post (1923-1954), January 24, 1926. ProQuest Historical Newspapers: The Washington Post, pg. A7.

“Clean Politics Urged On Women.” Evening Star (Washington, D.C.), December 2, 1926. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn83045462/1926-12-02/ed-1/seq-27/.

“Prominent Wyoming Lady Says Mrs. Ross Not Entitled to Woman Vote—Sympath Not Issue.” The Cody Enterprise and the Park County Herald (Cody, Wyo.), October 13, 1926. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92066930/1926-10-13/ed-1/seq-4/.

Rockpile Museum. Nellie Tayloe Ross for Governor. Postcard, 1926. Catalog No. 2004.025.0005. Accessed March 21, 2025. https://rockpilemuseum.pastperfectonline.com/archive/E78C4C54-6A62-4033-A6E8-793416583805.

Bettmann Archive. Nellie Ross and Eleanor Roosevelt. Photograph. July 1928.

Bettmann Archive. Governor Nellie Tayloe Ross Opens Gimbels. Philadelphia, 1926.

Bain News Service. Gov. Nellie T. Ross. [ca. 1915–1920]. George Grantham Bain Collection, Library of Congress. https://www.loc.gov/item/2014709682/.

Featured image: Bettmann Archive. Nellie Tayloe Ross Making a Speech with Clarence Morley, 1924.

Additional Resources

Nellie Tayloe Ross. YouTube video, 7:00. Posted by Wyoming PBS, 7 years ago.

National Governors Association. “Nellie Tayloe Ross.” National Governors Association. Accessed March 17, 2025. https://www.nga.org/governor/nellie-tayloe-ross/.

Rea, Tom. “The Ambition of Nellie Tayloe Ross.” WyoHistory.org, November 8, 2014. Accessed March 17, 2025. https://www.wyohistory.org/encyclopedia/ambition-nellie-tayloe-ross.

Wyoming History Day. “Nellie Tayloe Ross, First Woman Governor in the United States.” Wyoming History Day. Accessed March 17, 2025. https://www.wyominghistoryday.org/theme-topics/nellie-tayloe-ross-first-woman-governor-united-states

“Nellie Tayloe Ross: Wyoming, United States’ First Female Governor.” Wyoming Public Media, January 10, 2025. https://www.wyomingpublicmedia.org/open-spaces/2025-01-10/nellie-tayloe-ross-wyoming-united-states-first-female-governor.

“Nellie Tayloe Ross Papers, 1900-1977.” Archives West, accessed March 24, 2025. https://archiveswest.orbiscascade.org/ark:80444/xv317842.

“Nellie Tayloe Ross.” Digital Public Library of America, accessed March 24, 2025. https://dp.la/search?q=Nellie+Tayloe+Ross.

Lucht, Tracy, and Chelsea Davis. “Gender, Race, and Place in Newspaper Coverage of Women ‘Firsts’ after the Nineteenth Amendment.” Journalism History 47, no. 4 (October 2, 2021): 333–52. doi:10.1080/00947679.2021.1982564.

Citations

1. Bettmann Archive/Getty Images, Governor Nellie Tayloe Ross Opens Gimbels, Philadelphia, featuring Ellis Gimbel, Governor Ross, and Mayor Kendrick of Philadelphia; Bain News Service, Gov. Nellie T. Ross, [ca. 1915–1920], George Grantham Bain Collection, Library of Congress, https://www.loc.gov/item/2014709682/. ︎
2. Teva J. Scheer, Governor Lady: The Life and Times of Nellie Tayloe Ross (Columbia: University of Missouri Press, 2005), 27. ︎
3. Wyoming Inaugurates Nellie Tayloe Ross—First Lady Governor in United States,” Park County Herald (Cody, Wyo.), January 7, 1925, Chronicling America: Historic American Newspapers, Library of Congress, https://chroniclingamerica.loc.gov/lccn/sn92066928/1925-01-07/ed-1/seq-1/. ︎
4. “Her Excellency, The Governess.” The Challis Messenger (Challis, Idaho), January 14, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn88056159/1925-01-14/ed-1/seq-3/. ︎
5. Evening Star (Washington, D.C.), January 18, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn83045462/1925-01-18/ed-1/seq-96/. ︎
6. “Beat Texas to It, and Elect Woman Governor,” The Buffalo Voice (Buffalo, Johnson County, WY), October 17, 1924. Chronicling America: Historic American Newspapers, Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92067096/1924-10-17/ed-1/seq-1/. ︎
7. Mike Mackey, “Nellie Tayloe Ross and Wyoming Politics,” Journal of the West 42, no. 3 (2003): 26. ︎
8. Lynn Dumenil, The Modern Temper: American Culture and Society in the 1920s (New York: Hill and Wang, 1995), 32-35. ︎
9. Scheer, Governor Lady, 74. ︎
10. “Armed Prohibition Force Guards Gov. Nellie Ross,” The Washington Post (1923-1954), April 11, 1925. ProQuest Historical Newspapers: The Washington Post, pg. 1. ︎
11. Dumenil, Modern Temper, 229. ︎
12. Mackey, “Nellie Tayloe Ross and Wyoming Politics,” 28. ︎
13. “Gov. Ross Removes Loomis from Office.” Park County Herald (Cody, Wyo.), June 17, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92066928/1925-06-17/ed-1/seq-4/ ︎
14. Mackey, “Nellie Tayloe Ross and Wyoming Politics,” 30. ︎
15. “Wyoming Senate Rejects Child Labor Amendm’t.” The Cody Enterprise (Cody, Wyo.), January 21, 1925. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92066929/1925-01-21/ed-1/seq-1/. ︎
16. Scheer, Governor Lady, 83. ︎
17. Dumenil, Modern Temper, 105.
    ︎
18. “Clean Politics Urged On Women.” Evening Star (Washington, D.C.), December 2, 1926. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn83045462/1926-12-02/ed-1/seq-27/. ︎
19. “Matrimony Is Proper Thing,” Brownsville Herald (Brownsville, Tex.), March 28, 1926, Chronicling America: Historic American Newspapers, Library of Congress, https://chroniclingamerica.loc.gov/lccn/sn86063730/1926-03-28/ed-1/seq-5/. ︎
20. Virginia Scharff, “Feminism, Femininity, and Power: Nellie Tayloe Ross and the Woman Politician’s Dilemma,” Frontiers: A Journal of Women Studies 15, no. 3 (1995): 88. ︎
21. Scharff, “Feminism, Femininity, and Power,” 88. ︎
22. “Woman Governor Sees No Havoc in Vote for Her Sex: Merely Opens Door…,” The Washington Post (1923-1954), January 24, 1926. ProQuest Historical Newspapers: The Washington Post, pg. A7. ︎
23. Nellie Tayloe Ross for Governor, postcard, 1926, Catalog No. 2004.025.0005, Rockpile Museum, accessed March 21, 2025, https://rockpilemuseum.pastperfectonline.com/archive/E78C4C54-6A62-4033-A6E8-793416583805. ︎
24. Bettmann Archive, Nellie Ross and Eleanor Roosevelt, photograph, July 1928. ︎
25. Mackey, “Nellie Tayloe Ross and Wyoming Politics,” 31. ︎
26. “Prominent Wyoming Lady Says Mrs. Ross Not Entitled to Woman Vote—Sympath Not Issue,” The Cody Enterprise and the Park County Herald (Cody, Wyo.), October 13, 1926. Chronicling America: Historic American Newspapers, Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92066930/1926-10-13/ed-1/seq-4/. ︎
27. Dumenil, Modern Temper, 29. ︎

grlynn

Grlynn is a Ramapo College senior majoring in history

Women’s lives had changed significantly from the late 19th century into the 1920s. They became more involved in politics and increasingly joined the workforce. This challenged the traditional ideas of women’s roles within society. Social and sexual norms surrounding women had also changed, leading to new ideas about womanhood and femininity. Many women had moved away from restrictive clothing of the Victorian era, as seen with the example of flappers. 

In the 1920s, Nellie Tayloe Ross achieved a historic title. She was elected Governor of Wyoming in 1924. She took office in 1925, becoming the first woman to ever serve as a governor in the U.S.A. Ross represents the “new woman” but in a way that differs from the stereotypical image of the carefree flappers of the 1920s. She was an older woman actively involved in politics. During the late 19th century and into the 1920s, women had entered the political arena. They became political actors, supported suffrage, and sought progressive and urban reforms. One popular reform was prohibition, a law infamously tied to the image of the 1920s. Ross was one of these women. She was a firm supporter of prohibition. Ross had believed that the consumer was just as guilty as the bootlegger. She was even once requested to authorize an investigation of the Park County Sheriff, who had been accused of accepting pay from an alleged bootlegger. 

The “new woman” of the 1920s would agree on one thing: women’s roles within society were changing, and their roles would be different from the old restrictive version of womanhood. However, this did not prevent disagreement and tension. Women’s ideas of feminism and women’s rights were sometimes at odds. Some women, like Julia Lathrop and Frances Perkins, believed in women’s distinctiveness. They believed that women needed special protections that aligned with their sex. While many women supported the Equal Rights Amendment, which promoted equal rights between men and women, many women like Lathrop and Perkins felt indifferent to it. They feared this would create barriers to sex-based labor legislation that specifically protected working women. Ross is an example of a woman who possessed different ideas of women’s newfound roles and power. Feminists and suffragists did view Ross’ election as a victory and a step towards women’s political voices. However, some women’s rights movement leaders were disappointed with Ross’ refusal to prioritize her influence on the movement. She believed in women’s capabilities within the political field but was not a “hardcore feminist”. Echoing the traditional views during the previous century, she stated that a woman’s role as a wife and mother was of the highest importance. She would become cautious with her involvement in feminism because of its negative image within the politics of the time. This cautiousness prevented her from appointing more women in government positions. Nevertheless, Ross firmly believed in women’s roles within the political sphere. While she promoted femininity, she sought to prove it did not have to dismiss a woman’s right to exercise political power. Her status as the first woman governor still inspired other “new women” to get involved in the field of politics. 

Bibliography

Bettmann Archive. USA: Clara Bow in Get Your Man. 1927. Photograph. Bettmann Archive. https://www.gettyimages.com/detail/news-photo/clara-bow-in-get-your-man-news-photo/514892606.

Bettmann Archive. Portrait of Actress Louise Brooks. Photograph. Bettmann Archive. https://www.gettyimages.com/detail/news-photo/actress-louise-brooks-poses-for-a-portrait-session-in-news-photo/514205164.

Evening Star (Washington, D.C.). October 24, 1929. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn83045462/1929-10-24/ed-1/seq-3/.

Bettmann Archive. Activist Julia Clifford Lathrop Posing with Her Supporters. Photograph. https://www.gettyimages.com/detail/news-photo/julia-clifford-lathrop-lead-the-way-for-improving-american-news-photo/517294142.

Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. New York: Hill and Wang, 1995.

Mackey, Mike. “Nellie Tayloe Ross and Wyoming Politics.” Journal of the West 42, no. 3 (2003): 25–34. https://research-ebsco-com.library2.ramapo.edu:2443/linkprocessor/plink?id=f5cae36e-3b49-3ace-ba5b-0cabe6b1f206.

Scharff, Virginia. “Feminism, Femininity, and Power: Nellie Tayloe Ross and the Woman Politician’s Dilemma.” Frontiers: A Journal of Women Studies 15, no. 3 (1995): 87–106. https://doi.org/10.2307/3346786.

grlynn

Grlynn is a Ramapo College senior majoring in history

The Radium Girls, a group of girls who sued the United States Radium Corporation 1928, were a prime example of the struggles and shortcomings of the “New Woman” of the 1920s. The new woman, as opposed to the 19th century woman, as seen in the picture of Louise Brooks on the right, was a woman who worked outside of the house, typically only until she had a husband, at which point she would be expected to give up her job. While new women could be any race, and typically were lower or middle class, the most widely depicted new women were middle class white women, who worked in “feminized” jobs, like dial painting, education, secretary work, or retail.   

The Radium Girls specifically were employed in a factory-esque setting in which they were paid by the number of dials that they produced and painted per hour. They were encouraged by the radium company to lick the paintbrush periodically so that the dials they were painting had finer lines and they could produce dials faster. As opposed to other women at the time, whose work was “largely devalued and poorly paid” ¹ working in Radium was a highly coveted job because it was a “well-paid skilled labor” for women in the 1920s.² In this case, the Radium Girl differs from the “New Woman” that characterized the 1920s because their work was paid at a higher rate than other feminized jobs. 

While the new woman struggled to find work, and worked for poor pay in monotonous or harsh conditions, even after obtaining a degree, the Radium Girls were at first highly respected due to the advertisement and consumption of Radium in the 1920s. As Radium grew into an important part of the consumer culture of the 1920s, it was a desirable job to work with the new glowing substance. As seen in the advertisement to the right, Radium was originally advertised as a panacea for any beauty or health issue: health tonics, tooth paste, hair creams and many more items fell victim to the radium craze. Radium was even used as a wide scale treatment in hospitals, and was mixed with water and given as a cure-all to a variety of different patients as a cure for any illness.³ Radium girls would even use the radium to paint their nails or other parts of their body in order to create a glow in the dark look. These women were not informed of the negative effects of Radium, even though many officials in the company already knew about the effects by the time that Radium was being widely consumed. But due to US Radium Company’s greed and want for success in the growing consumerism market, specifically dominated by the “new women” who now had “pin money” from their jobs, they continued to push the poisonous radium on the public. Consumerism was another growing issue from the 1920s discussed in The Modern Temper, specifically as women had more money to spend, they wanted to follow the trends of higher-status women, thus leading to a growing market that focused more on advertising to a larger audience. 

In the end, despite the appearance of a “better work” and “better life” for the Radium Girls, they ended up suffering just as much as the minority women who worked in factory jobs and “encountered harsh conditions and discrimination” for low pay.⁴ These women were continuously ingesting Radium in small doses, and over the years, ended up dying tragic and often gruesome deaths due to radium poisoning. The suffering of the Radium Girls fits into the larger trend of the early 20th century of the fight for equal rights and the struggle for worker’s protections in a growing industrialized market. After the Radium Girls’ trial, they all received a settlement from US Radium Company, which did not last them for long, as they all died within a few years of the trial. But, their trial had a lasting effect on the workers rights movement, and increased the demand for workers comp pay, women’s rights in the workplace, and enforced the judicial decision that employers could be held responsible for employee’s health and safety. 

Overall, the Radium Girls were a “New Woman” of the 1920s. They worked outside of the home, in a feminized field, and received a ‘woman’s pay.’ They spent the majority of the money they earned in the budding consumerist market, and they even used the radium to decorate their bodies in order to appear more good looking or intriguing. At the end of the day, working as a radium girl gave the girls “an individual public existence, a public identity of her own, and a sense of her own worth.”⁵ Even though they all died from their exposure and ingestion of radium, they became a household name—especially in New Jersey—and a spearhead for worker’s rights. The radium girls connect to so many different branches of the 1920s, like consumer culture, women’s rights, and worker health and safety regulations, which shows just how much of a ‘public existence’ they really gained from their work.

1. Dumenil, Lynn. The Modern Temper: American Culture and Society in the 1920s. United States: Hill and Wang, 2024, 122.  ︎
2. Balkansky, Arlene. “Radium Girls: Living Dead Women: Headlines & Heroes.” The Library of Congress, March 19, 2019. Accessed February 18, 2025. https://blogs.loc.gov/headlinesandheroes/2019/03/radium-girls-living-dead-women/. 
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3. Elgert, Patrick. “Radium: A Medical Treatment of the Early 20th Century.” Historical Medical Library. Accessed February 18, 2025. https://histmed.collegeofphysicians.org/for-students/radium/. ︎
4. Dumenil, 117. ︎
5. Dumenil, 126. ︎

hannahsteinlauf

Hannah Steinlauf is a senior history major with a minor in museum and exhibition studies at Ramapo College. She is a student research aide for the Jane Addams Papers Project. She is a member of the Ramapo College Dance Company and Tri Sigma. Hannah is going to attend Trinity College Dublin for a masters degree in Public History after graduation.