While undergoing routine surgery to remove a benign tumor, Ruby Elzy died. She was only thirty-five. Had she lived, she would have been one of the first Black artists to appear in grand opera. Although now in the shadows, she was a shining star in her day. She entertained Eleanor Roosevelt in the White House. She was Paul Robeson's leading lady in the movie version of The Emperor Jones. She starred in Birth of the Blues opposite Bing Crosby and Mary Martin. She sang at Harlem's Apollo Theater and in the Hollywood Bowl. Her remarkable soprano voice was known to millions over the radio. She was personally chosen by George Gershwin to create one of the leading roles in his masterpiece, that of Serena in the original production of Porgy and Bess. Her signature song was the vocally demanding “My Man's Gone Now.” From obscurity she had risen to great heights. Ruby Pearl Elzy (1908-1943) was born in abject poverty in Pontotoc, Mississippi. Her father abandoned the family when she was five, leaving her mother, a strong, devout woman, to raise four small children. Ruby first sang publicly at the age of four and even in childhood dreamed of a career on the stage. Good fortune struck when a visiting professor, overwhelmed upon hearing her beautiful voice at Rust College in Mississippi, arranged for her to study music at Ohio State University. Later, on a Rosenwald Fellowship, she enrolled at the Juilliard School in New York City. After more than eight hundred performances in Porgy and Bess, she set her sights on a huge goal, to sing in grand opera. She was at the peak of her form. While she was preparing for her debut in the title role of Verdi's Aida, tragedy struck. During her brief career, Ruby Elzy was in the top tier of American sopranos and a precursor who paved a way for Leontyne Price, Jessye Norman, Kathleen Battle, and other black divas of the operatic stage. This biography acknowledges her exceptional talent, recognizes her contribution to American music, and tells her tragic yet inspiring story.

Artist profiles. Eva Alberta Jessye -- James Langston Hughes -- Josephine Wright -- Elizabeth Taylor Greenfield -- Sissieretta Jones -- Estelle Pinckney Clough -- Dena J. Epstein -- Benjamin M. Holmes -- Jennie Jackson -- Minnie Tate -- Maggie Porter Cole -- Thomas Rutling -- Georgie Gordon -- Julia Jackson -- Mabel Lewis -- Hinton D. Alexander -- Ella Sheppard -- E. Azalia Hackley -- Julius C. Bledsoe -- Carl Diton -- Abbie Mitchell -- Roland Hayes -- George Shirley -- Todd Duncan -- Camilla Williams -- Marian Anderson -- Paul Robeson -- Dorothy Maynor -- Betty Allen -- Leontyne Price -- William Warfield -- Shirley Verrett -- Grace Bumbry -- Simon Estes -- Jessye Norman -- Sylvia Olden Lee -- Kathleen Battle -- Vinson Cole -- Herbert Perry -- Mark S. Doss -- Denyce Graves -- Paul Laurence Dunbar -- Rosalyn M. Story -- James Weldon Johnson -- John Lovell, Jr. -- John Wesley Work -- J.A. Myers -- Marion Kerby -- Edward H. Boatner -- Harry T. Burleigh -- Hall Johnson -- Norman L. Merrifield -- Marvin V. Curtis -- Lee V. Cloud.

An 8-volume reference set containing over 4,000 entries written by distinguished scholars, 'The African American National Biography' is the most significant and expansive compilation of black lives in print today.

With a wink or a nod or a shake of their hips, they acted out fantastic stories filled with whispers and secrets. They played with myths, created legends, and entertained audiences around the world. From the turn of the twentieth century to its last few decades, a striking lineup of breathtaking black women have dazzled us with their energy, talent, and style. Lavishly illustrated, "Brown Sugar" is filled with the stories of America's black female superstars: Ma Rainey, the Mother of the Blues, fought hard, drank hard, lived hard, and set high standards for all the blues women to follow. Ethel Waters developed from her role as a slinky, sultry blues-singing flapper to an acclaimed and admired dramatic actress. Josephine Baker began her career on the stage of the Folies Bergere wearing nothing but a bunch of bananas and a smile. She continued to dazzle her audiences for decades. Lena Horne, who claimed her white nightclub audiences "saw nothing but her flesh and its color onstage," went to Hollywood and was named the cafe-au-lait Hedy Lamarr. The Supremes, swept away by success and beset by tragedy, sold more than fifty million albums and put Detroit and the Motown sound on the map. Donna Summer started as a sexy joke but emerged as the undisputed Queen of Disco.

Every 3rd issue is a quarterly cumulation.