♪ >>'S TONIGHT IS GOOD I'M IN PBS WEEKLY.

>> YOU INTO RANDALL SQUARE, WHICH WAS THE PIT OF PROVIDENCE.

YOU TOOK OVER THE WORST, RUNDOWN BUILDING IN THE STATE OF RHODE ISLAND.

HE STARTED A REMODEL, BUT BLACK-AND-WHITE TOGETHER, WHICH WAS UNHEARD OF.

BROUGHT IN THE WORLD'S GREATEST TALENT AND MADE IT PAY.

>> SHE TOWARD AN EUROPEAN SAME BEFORE ROYALTY.

HOW DO PEOPLE RESPOND TO HER IN THE UNITED STATES?

>> SHE FACED SEVERE RACISM.

THE METROPOLITAN OPERA CONSIDERED HER FOR A LEAD ROLE BUT DENIED IT BECAUSE OF HER RACE.

I BELIEVE AFRICAN-AMERICAN OPERA SINGERS OVER THEIR CAREER TO MADAME JONES.

♪ >> GOOD EVENING, WELCOME TO THE SPECIAL EDITION OF RHODE ISLAND WEEKLY.

>> WITH YOU ARE VISITING OR RESIDENT, YOU COULD TAKE A TOUR OF ITS ARCHITECTURE, FOOD, NATURAL SPACES, AND EVEN ITS AFRICAN-AMERICAN HERITAGE.

THERE ARE MORE THAN 100 SITES OF BLACK CULTURAL SIGNIFICANCE IN PROVIDENCE ALONE.

>> BACK IN JULY, ARE CONDITIONING PRODUCER ASKED RHODE ISLAND ARTIST APRIL BROWN TO TAKE US ON A TOUR.

OUR FIRST STOP, KINSLEY FIELD.

HOME OF THE PROVIDENCE COLLEGE ISLANDS.

-- PROVIDENCE COLORED GIANTS.

THEY PLAYED YEARS BEFORE JACKIE ROBINSON.

>> HERE WE ARE AT KINSLEY AND ACORN.

IMAGINE IN 1919, THIS WAS A HUGE FIELD.

>> WHAT WAS USED FOR?

>> THE COMMUNITY COULD COME AND SEE FIREWORKS, BOXING, SOCCER AND FOOTBALL.

>> WHAT ABOUT BASEBALL?

>> IN THE 1920'S, THIS IS WHERE YOU COULD SEE AMATEUR AND PROFESSIONAL BASEBALL.

THIS WAS THE LOCATION YOU COULD SEE BLACK TEAMS PLAYING AGAINST WHITE TEAMS.

IN 1931, THIS BECAME THE HOME FIELD OF THE PROVIDENCE COLORED GIANTS, THE FIRST BLACK PROFESSIONAL BASEBALL TEAM.

>> KINSLEY PARK WAS BUILT IN THE EARLY 1920'S.

THE GEOGRAPHIC SIGNIFICANCE RESTS WITH AN OLD TROPE IN SPORTS HISTORY, WHICH IS THERE IS A LOT OF BALLPARKS BUILT ON RAILROAD PROPERTY.

LARGE PIECES OF PROPERTY THAT RAILROADS NO LONGER USE AND THEY BECOME BALLFIELDS.

KINSLEY PARK IS SYNONYMOUS IN RHODE ISLAND'S MINOR LEAGUE BASEBALL TEAM.

THE PARK IS BUILT WITH THE GRAYS IN MIND.

THAT IS WHERE YOU SEE INCREDIBLE PROFESSIONAL TEAMS COMING IN AND OUT.

THEY PLAYED AN EXHIBITION GAME.

KINSLEY PARK HAD ALWAYS BEEN AN ENCLOSED STADIUM, WHICH IS WHAT MADE IT SO SPECIAL.

PROFESSIONAL TEAMS OR SEMI PROFESSIONAL TEAMS ARE SEMIPROFESSIONAL TEAMS ALMOST EXCLUSIVELY SOUGHT IT OUT.

STADIUMS ARE PEOPLE HAD TO PAY TO ENTER.

DANIEL WHITEHEAD IS OFTEN TIMES REFERRED TO AS THE FATHER OF BLACK BASEBALL.

IN RHODE ISLAND.

HE IS REFERRED TO THAT BECAUSE IN 19 OH FIVE, HE ESTABLISHES THE ORIGINAL PROVIDENCE COLORED GIANTS.

1908 COME HE INCORPORATES THE TEAM AND IT BECOMES RHODE ISLAND'S FIRST MONEYMAKING AFRICAN-AMERICAN TEAM.

HE COMES TO RHODE ISLAND IN THE EARLY 1880'S.

FROM SOUTH CAROLINA.

HE BECOMES AND WHAT WAS CALLED THE NUMBERS AS EARLY AS 1904.

IT WAS AN ELITE GAMBLING TEAM.

HE WAS INCREDIBLY SUCCESSFUL.

BY THE EARLY 1930'S, THE NUMBERS KING OF RHODE ISLAND.

HE IS GOOD TO FORGET AMOUNT OF INCOME.

ONE OF THE THINGS HE BECAME INVOLVED IN VERY EARLY IS SUPPORTING AFRICAN-AMERICAN BASEBALL TEAMS.

IN 1931, THE FULL OWNER OF THE GIANTS.

ARTHUR BLACK WAS INTERESTED IN CRATING A PROFESSIONAL TEAM WITH PROFESSIONAL PLAYERS.

1931, THERE WERE PLAYERS WHO WERE UP FOR CONTRACTS.

THE LEAKS WENT UNDER BECAUSE OF THE GREAT DEPRESSION AND THE DEATH OF WHO WOULD ORGANIZE THE LEAD BACK IN 1920.

ARTHUR IS ABLE TO SIGN MOST OF THE INCREDIBLE LACK BASEBALL TALENT ON THE EAST COAST TO PLAY IN PROVIDENCE BECAUSE HE CAN PROMISE THEM A WEEKLY CHECK INTO THOSE PAYMENTS, FROM WHAT I GATHER, WERE PRETTY GOOD.

FOR THE FIRST TIME, PROVIDENCE HAS A BLACK, PROFESSIONAL BASEBALL TEAM.

THEIR OWN FIELD IS KINSLEY.

THEY PACKED KINSLEY AND SHOWED SOME OF THE BEST BASEBALL TALENT PERIOD.

SOMEONE HE WAS ABLE TO SIGN WAS OLIVER MARCEL.

HE HAD ESTABLISHED HIMSELF AS THE MERE THIRD BASEMAN IN BASEBALL.

IN 2006, HE WAS UP FOR INDUCTION INTO THE NATIONAL BASEBALL HALL OF FAME.

ONE OF THE INTERESTING THINGS ABOUT AFRICAN-AMERICAN BASEBALL IN RHODE ISLAND DURING THIS TIME IS THE WAY IN WHICH AFRICAN-AMERICANS NEGOTIATED SEGREGATION OR RACIAL BARRIER.

IN BASEBALL, USE INTEGRATION OCCURRING MUCH SOONER THAN YOU SEE IT OCCURRING IN OTHER WALKS OF LIFE.

THE WHITE TEAMS WERE HAPPY TO HAVE THE BLACK TEAM BECAUSE THE BLACK TEAM WAS ALWAYS THE DRAW.

PEOPLE CAME TO SEE THE INCREDIBLE BLACK TALENT.

IT ALSO OPENED UP A FAN BASED AFRICAN-AMERICAN FANS.

FOLKS WOULD GO TO CHURCH THEN COME BACK FROM CHURCH AND GO RIGHT TO THE GAMES.

SOMETIMES THEY WOULDN'T EVEN CHANGE OUT OF THEIR SUNDAY CLOTHES.

IT WAS A WONDERFUL SORT OF SOCIAL AND CULTURAL EVENT FOR THE COMMUNITY.

WE ARE TALKING ABOUT THE 1920'S.

BASEBALL AND MONEY GO HAND-IN-HAND.

INTEGRATION AND MONEY GO HAND-IN-HAND.

WHAT HAPPENS IN 1931, BLACK'S PROFESSIONAL TEAM DOES NOT DO AS WELL AS HE EXPECTED.

HE HAS A MAJOR DISAPPOINTMENT AT THE POLO GROUNDS IN NEW YORK WHEN HIS TEAM DOES NOT DO ALL THAT WELL AGAINST THE HARLEM STARS, WHICH WOULD LATER BECOME THE NEW YORK BLACK YANKEES.

ARTHUR BLACK WALKS AWAY FROM THAT TEAM AND 31 AND DAN WHITEHEAD COMES IN TO TAKE OVER THE PROVIDENCE GIANTS IN 1932.

ARTHUR BLACK WAS VERY MUCH IN FAVOR OF A CONTRACT IN WHICH PLAYERS WERE PAID REGULARLY.

DANIEL WHITEHEAD AGREED THE PLAYERS SHOULD SPLIT THE GATE AND WHEN DANIEL WHITEHEAD INFORMS THE PLAYERS THEY ARE NO LONGER GETTING A REGULAR PAYCHECK AS THEY DID UNDER BLACK , THEY ARE GOING TO HAVE TO SPLIT THE GATE, THE PLAYERS MUTINY.

THEY REFUSED TO PLAY.

AS A RESULT, THE TEAM FALLS APART.

THE FANS WANT THEIR MONEY BACK.

BLACK -- THE GAME WAS IMPORTANT, BUT THE GAME WAS BUSINESS OPPORTUNITY.

FOR WHITEHEAD, THAT WAS HIS LIFE.

WHITEHEAD WAS A PLAYER.

BACK IN 1905, HE SHARED TIME ON FIRST BASE, RIGHT FIELD.

VERY CLOSE TO HIS PLAYERS.

VERY DIFFERENT SORT OF RELATIONSHIP THAN THE BUSINESS RELATIONSHIP BLACK HAT.

WHEN HE HEARS MUTINY IN 1932, WHITEHEAD WALKS AWAY FROM THE GAME AND DIES A YEAR LATER.

PRETTY MUCH BROKEN HEARTED.

IN A BOARDINGHOUSE, SEPARATED FROM THE GAME THAT I THINK HE LOVED SO MUCH.

IN 1932, PROHIBITION IS COMING TO AN END.

MANY STREAMS FOR ORGANIZED CRIME ARE DRYING UP.

AS A RESULT, PEOPLE ARE LOOKING TO TAKE OVER TERRITORIES AND BLACK IS MURDER FOR HIS TERRITORY.

WHITE HIS PASSES -- WHITEHEAD PASSES, BLACK IS MURDERED -- KINSLEY PARK, THE SACRED GROUND IS TORN DOWN AND IT ENDS BY THE EARLY 1930'S.

SPORTS IS OFTEN TIMES AN AVENUE THAT CANNOT JUST A MIRROR WHAT IS GOING ON IN SOCIETY BUT CAN CHANGE WHAT IS GOING ON IN SOCIETY.

RHODE ISLAND DOES EXPERIENCE INTEGRATION, AT LEAST IN BASEBALL, A LOT SOONER OR QUICKER THAN ITS NEIGHBORING STATES.

BASEBALL HAS ALWAYS BEEN A GAME.

ENJOYED BY LOCAL FANS.

AS MUCH AS INTEGRATION IS NEEDED AND DESIRED, IT IS BITTERSWEET BECAUSE ALL BLACK BASEBALL GAMES ON A SUNDAY AFTERNOON HAD MEANT SO MUCH TO THE COMMUNITY.

THAT CELEBRATORY EVENT AND THE MEN WHO LIVED IN THOSE COMMUNITIES AND PLAYED THAT GAME NO LONGER EXISTED.

KINSLEY PARK WAS THE PLACE THEY SHOWCASED THEIR TALENT.

[APPLAUSE] >> WHAT HAPPENED TO KINSLEY FIELDAFTER THAT?

>> IN 1933, IT WAS DESTROYED.

GRANDSTANDS AND EVERYTHING.

THAT WAS THE END OF BLACK PROFESSIONAL BASEBALL HERE IN PROVIDENCE.

NOW ALL WE HAVE IS THIS PARKING LOT.

>> WHERE WE HAD TO NEXT?

>> WE ARE GOING TO THE CELEBRITY CLUB.

THE FIRST INTEGRATED JAZZ CLUB HERE IN NEW ENGLAND.

>> THE CELEBRITY CLUB IS NOT HERE ANYMORE.

>> THE BUILDING DOESN'T EXIST, BUT THIS THE APPROXIMATE LOCATION.

>> WHAT MADE IT SO SPECIAL?

>> IN 1949, A LOCAL GUY WHO REALLY LOVE TO JAZZ MUSIC HAD THE GREAT IDEA TO OPEN AN INTEGRATED JAZZ CLUB.

IN 19 50'S PROVIDENCE, SEGREGATED PROVIDENCE, THERE WERE NOT A LOT OF PLACES FOR BLACKS TO MEET.

AT THE CELEBRITY CLUB, BLACKS AND WHITES COULD DANCE AND HAVE A GOOD TIME.

>> WHAT KIND OF ARTIST PERFORMED?

>> EVERYBODY PLAYED.

DUKE ELLINGTON, LOUIS ARMSTRONG, EVERYBODY WHO WAS KNOWN PLAYED THERE.

BLACK AND WHITE MUSICIANS COULD PLAY TOGETHER.

JUST IMAGINE, THE CELEBRITY CLUB, THIS WAS THE PLACE TO BE.

>> HE PASSED AWAY IN 1982, CARED ENOUGH TO HAVE A CLUB THAT WOULD ALLOW PEOPLE TO COME TOGETHER AT A TIME THEY WERE NOT DOING IT.

>> PAUL WAS A REAL PIONEER.

I THINK HE HAD A REAL DIRECTED EFFORT THAT HE WANTED TO CHANGE THINGS.

HE WANTED TO BRING FOLKS TOGETHER REGARDLESS OF WHO THEY WERE INTO THEIR COLOR.

>> TWO OR THREE BLACK PEOPLE, THEY WOULD SAY THEY WANTED ENTERTAINMENT.

SO I HAD THE IDEA THAT A NICE LITTLE CLUB IN THE PROVIDENCE AREA CATERING TO BLACK WOULD BE SUCCESSFUL.

BLACKS WENT THEIR WAY, WHITES WENT THEIR WAY.

>> HE WAS OF ITALIAN-AMERICAN DISSENT AND THERE WAS DISCRIMINATION AGAINST ITALIANS, TOO.

HE ALWAYS SAID HE HAD AN AFFINITY FOR THE AFRICAN-AMERICAN COMMUNITIES BECAUSE THEY BOTH EXPERIENCED PREJUDICE.

>> HE SOUGHT ALL AROUND HIM.

HE SAW THE PREJUDICE AND SEGREGATION AND I THINK HE WANTED TO HAVE A PLACE WHERE EVERYBODY COULD COME AND FEEL WELCOME.

THERE WEREN'T PLACES LIKE THAT, EVEN IN THE 50'S, NEW ENGLAND.

JIM CROW LAWS WERE STILL THERE EVEN THOUGH THEY WERE UNSPOKEN.

>> SO ON NOVEMBER 18, 1949, WAS OPENING NIGHT.

MY WIFE AND I STOPPED AT SAINT AUGUSTINE'S CHURCH, SAID A LITTLE PRAYER THAT WE WOULDN'T GO BROKE.

AT 1:00 IN THE MORNING, WHEN WE CLOSED OUR DOORS, WE WERE $1100 RICHER.

THAT WAS THE BEGINNING OF WHAT BECAME OF THE MOST FAMOUS CLUBS.

IT WAS A CELEBRITY CLUB.

>> IF YOU LOOK AT THE FOLKS THAT PLAYED THE CELEBRITY CLUB AND THE PEOPLE THAT PAUL BROUGHT IN, IT WOULD NOT HAVE WORKED WITHOUT THOSE BIG NAMES HE BROUGHT IN.

IMAGINE GROWING UP IN A NEIGHBORHOOD AND THERE'S THESE ARTIST TO HEAR ON THE RADIO, LISTEN TO THEIR RECORDS AND HERE THEY ARE FOR A WEEK.

THINK ABOUT THIS AND IT BLOWS MY MIND.

IF ONLY I COULD GET MY TIME MACHINE AND GO BACK, THAT IS WHEN I WOULD GO.

>> NECKING COLD.

>> LOUIS ARM -- NAT KING COLE.

>> LOUIS ARMSTRONG.

>> ♪ [SINGING] ♪ >> I SAW THIS GROUP ON TELEVISION, OUT OF HOLLYWOOD.

THEY WERE A TRIO FEATURING SAMMY DAVIS JUNIOR.

I SAID, MY GOD, WHAT ENTERTAINER.

SO I SAID TO TELEGRAM, OFFER THEM $5,000.

ATTEND DAY ENGAGEMENT.

-- 810 DAY ENGAGEMENT.

-- A TEN DAY ENGAGEMENT.

>> THEY WOULD COME PLAY FOR A WEEK AND THEY WOULD BE HOME.

HIS ARMS WERE REACHING OUT NOT ALL ONLY ALL OVER THE COUNTRY -- >> HE GOT THE BEST NAMES IN THE WORLD TO COME TO PROVIDENCE, RHODE ISLAND.

IT IS CRAZY.

I WISHED I WOULD'VE SAT DOWN BEFORE HE PASSED AWAY -- I WAS 11 WHEN HE DIED.

I SHOULD'VE BEEN MY DAD, HOW DID YOU GET THEM?

WHAT WAS THE SECRET?

>> EVERYBODY KNEW HIM.

IT WAS LIKE HE WAS THE MAYOR.

HE WAS SO GREGARIOUS, SO WELL-LIKED.

I THINK THAT WENT A LONG WAY.

I THINK BEING NESTLED BETWEEN NEW YORK CITY AND BOSTON ENABLED HIM TO GET A LOT OF GREAT ACTS.

♪ >> THE ENTERTAINMENT WAS AWESOME.

THAT IS WHAT YOU REALLY WENT DOWN THEREFORE, WAS THE ENTERTAINMENT.

SOMEBODY DIFFERENT ALL THE TIME.

WE WOULD SIT THERE AND ENJOY THE MUSIC.

WE HAD FUN.

>> ♪ [SINGING] ♪ >> THOSE WERE GOOD DAYS FOR US.

>> REMEMBER, THEY WERE IN A BLACK NEIGHBORHOOD AROUND THE SQUARE.

>> I HAD NO COMPETITION BECAUSE THERE WERE NO BLACK PLACES.

BECAUSE I DID SO WELL INTO BECAUSE I WAS SO WELL PATRONIZED BY THE BLACK PEOPLE, I WAS ABLE TO PURCHASE THE PROPERTY WITHOUT THE INFLUX OF WHITES.

THE BLACK PEOPLE SPOTTED ME.

BUSINESS WAS SO GREAT I BOUGHT THE BUILDING, BROUGHT IN NATIONALLY NO STARS -- KNOWN AS STARS.

IT WASN'T THAT AN ENTERTAINER WAS BLACK THAT APPEALED TO JUST BLACK PEOPLE.

CERTAIN ENTERTAINERS THAT WERE BLACK APPEALED TO WHITES.

>> ♪ [SINGING] ♪ >> LOUIS ARMSTRONG WAS PRIMARILY A WHITE DRAW.

WHITE PEOPLE WOULD COME IN BECAUSE IF THAT KIND OF INNER TEAM IS GOING ON AT THE CELEBRITY CLUB, IT MUST BE A GREAT SHOW.

-- ENTERTAINMENT IS GOING ON AT THE CELEBRITY CLUB, IT MUST BE A GREAT SHOW.

I COULD BRING IN SOMEONE THAT COULD DROP BLACK AND WHITE.

NOW WE HAVE ONE OF THE GREATEST CLUBS THEY HAVE EVER KNOWN.

>> WE JUST FIGURED WHITE PEOPLE, BLACK PEOPLE -- EVERYONE WAS HAVING A GOOD TIME.

I DIDN'T REALLY THINK ABOUT IT, BEING AN INTEGRATED CLUB.

YOU KNOW?

WHITE PEOPLE DIDN'T SAY ANYTHING ABOUT US BEING IN THERE, WE DIDN'T SAY ANYTHING ABOUT THEM.

THEY TREATED US LIKE WE WERE THE SAME.

EVERYBODY GOT ALONG.

IT WAS A GREAT PLACE TO GO.

>> PAUL HAD ROOMS UPSTAIRS AT THE CLUB WHERE THE MUSICIANS COULD STAY BECAUSE BLACK ARTISTS, BLACK MUSICIANS STILL HAD A PROBLEM FINDING A GOOD HOTEL ROOM IN PROVIDENCE.

>> THERE WAS A BLACK UNTIL THEY COULD STAY AT.

>> THE HOTELS THAT WOULD ALLOW BLACKS INTO THEM WAS THE CAPITAL HOTEL, IT WAS NOT A VERY NICE HOTEL.

IF I MAY SAY.

AND THE CROWN HOTEL DID OPEN THEIR DOORS MORE WILLINGLY.

>> OR THEY WOULD HAVE TO SLEEP IN SOMEONE'S SPARE ROOM WHO WAS A PATRON OF THE CELEBRITY CLUB.

EVEN LOUIS ARMSTRONG, ONE OF THE MOST FAMOUS MUSICIANS, COULD NOT STAY IN NICE HOTELS.

>> PAUL WAS REALLY GREAT IN TERMS OF MAKING SURE EVERYONE WAS PAID EQUITABLY.

LIKE MISSIONS GOT PAID THE SAME AS WHITE MUSICIANS -- BLACK MUSICIANS GOT PAID THE SAME AS WHITE MUSICIANS AND THAT DID NOT HAPPEN OFTEN.

SHE HIRED YOUNGER BANDS TO PLATE INTERMISSIONS.

>> WE WERE THE INTERMISSION BAND AS THEY TOOK THEIR BREAK.

I REMEMBER THAT EVENING AFTER IT WAS OVER, SONNY WAS PLAYING.

HE CAME OUT AND TOLD ME A GREAT POTENTIAL.

AT 14, I DIDN'T QUITE KNOW WHAT THAT WAS, BUT I KNOW IT DIDN'T SOUND LIKE A CUSS WORD.

WHEN I WENT HOME, I COULDN'T GET HOME FAST ENOUGH TO LOOK IN THE DICTIONARY INTO SEE WHAT POTENTIAL MEANT.

I SAID, WHOA.

THAT WAS INSPIRING FOR ME.

>> PAUL OPENED THE DOORS SAW THESE KIDS WHO BECAME LIFELONG MUSICIANS -- THEY SAW THEIR HEROES AT THE CELEBRITY CLUB.

THAT IS WHAT MADE THEM KEEP PLAYING.

>> THERE WASN'T ANYTHING LIKE IT.

NOTHING.

>> WHEN THE CLUB OPENED THE LATE 40'S, EVERYBODY LOVED IT, BUT THERE WERE PEOPLE THAT DID NOT.

THAT WAS THE POLICE IN PROVIDENCE.

>> THE MOST PROBLEMS I HAD WAS WITH THE POLICE DEPARTMENT.

THEY SAID, WHAT ARE YOU DOING?

YOU ARE BRINGING THESE WHITES INTO A BLACK NEIGHBORHOOD.

BLACKS ARE GOING TO BE DOWNTOWN.

>> FOLKS IN CHARGE AND THE AUTHORITIES THOUGHT THIS WAS A PROBLEM AND THEY NEEDED TO STOP IT AS BEST THEY COULD.

SO THE COPS WOULD COME DOWN AND THEY WOULD RAID THE CLUB ONCE IN A WHILE.

PAUL REACHED A POINT WHERE IT WASN'T WORTH IT FOR HIM.

>> THERE WAS A CHANGE IN AMPLIFICATION.

THE SMALL SUPPER CLUB WAS NOT WET LOUIS ARMSTRONG WAS DOING ANYMORE.

THE FIRST CLASS ACTS WERE NOW PLAYING TO STADIUMS.

THAT LED TO THE DEMISE OF THE SMALL JAZZ SUPPER CLUBS.

>> IT STAYED OPEN AS A CLUB FOR TUMOR YEARS AFTER 1958, THEN WENT OUT OF BUSINESS.

-- 42 -- FOR TWO MORE YEARS AFTER 1958, THEN WENT OUT OF BUSINESS.

>> I DON'T THINK I KNEW WHAT I WAS ACHIEVING UNTIL AFTER I OPENED THE CELEBRITY CLUB.

I NEVER REALIZED WHAT A GREAT THING I WAS DOING.

AL NEVER FORGET WHAT A MAN SAID TO ME.

YOU WENT TO RANDALL SQUARE, WHICH WAS THE PITS OF PROVIDENCE.

THE WORST, RUNDOWN SECTION OF THE ENTIRE CITY OF PROVIDENCE.

YOU TOOK OVER THE WORST, RUNDOWN BUILDING IN THE STATE OF RHODE ISLAND YOU STARTED A REMODEL, PUT BLACK AND WHITE TOGETHER, WHICH WAS UNHEARD OF.

BROUGHT IN THE WORLD'S GREATEST TALENT AND MADE IT PAY.

>> MY DAD AND I WERE DRIVING THROUGH THIS NEIGHBORHOOD WHEN I WAS EIGHT YEARS OLD AND A GROUP OF OLDER BLACK MEN JUST YELLED, BROTHER PAUL, BROTHER PAUL.

THEY STOPPED HIM AND SURROUNDED THE CAR, TALKED FOR A HALF HOUR, THEY ALL HAD TEARS IN THEIR EYES.

GROWN MEN JUST REMINISCING ABOUT WHAT THEY ALL DID TOGETHER.

THAT IS THE STORY -- IT WAS MOST POIGNANT FOR ME BECAUSE I SAW THE EMOTION.

♪ >> A CITATION FROM THE HOUSE OF REPRESENTATIVES AND RECOGNITION FOR THE TRAILBLAZING EFFORTS TO OPEN A CELEBRITY CLUB IN 1949 AS THE FIRST INTEGRATED CLUB IN NEW ENGLAND.

>> MY FATHER DIED ALMOST 30 YEARS AGO.

TO HAVE AN EVENT WHERE PEOPLE ARE STILL COMING AND SAYING THANK YOU FOR YOUR FATHER -- >> IT WAS NICE MEETING YOU, THANK YOU.

I WILL.

>> I DON'T HAVE TO FIND THE WORDS TO EXPLAIN BUT THAT IS LIKE.

PEOPLE WERE THANKFUL THEY HAD A PLACE THEY COULD HAVE FUN AND ENJOY LIFE.

THE RIGHT THING MAY NOT BE POPULAR AND HAVE TO FOLLOW YOUR CONSCIENCE.

THAT IS WHAT HE DID.

IT IMPARTED ON ME.

FOLLOW YOUR CONSCIENCE, EVEN IF PEOPLE DON'T LIKE YOU.

THAT IS HOW YOU BUILD A GOOD LEGACY FOR YOURSELF, FAMILY AND COMMUNITY.

>> THEY HAVE THEIR DAY, THEY HAVE THEIR TIME.

>> BUT FOREVER AND FOR ALWAYS, THE CELEBRITY CLUB WILL BE THE PLACE WHERE EVERYBODY MET AND BLACKS AND WHITES COULD LISTEN TO GREAT MUSIC TOGETHER.

IT'S SAD, ANOTHER EXAMPLE OF A HISTORIC SITE AND YOU HAVE NO IDEA LOOKING AT IT.

>> NO, YOU WOULDN'T.

>> UP THE NEXT, OUR TOUR OF PROVIDENCE'S AFRICAN-AMERICAN HERITAGE SITES CONTINUES WITH AN IN-DEPTH LOOK AT THE CAREER OF A WOMAN WHO IS PROBABLY THE MOST FAMOUS AFRICAN-AMERICAN SOPRANO YOU'VE NEVER HEARD OF.

HER NAME WAS MATILDA SISSIERETTA JONES, KNOWN SIMPLY AS SISSIERETTA JONES.

SHE WAS REVERED BY AUDIENCES AND DIGNITARIES AROUND THE WORLD AT THE TURN OF THE 19TH CENTURY.

ALTHOUGH SHE WAS THE FIRST AFRICAN-AMERICAN WOMAN TO HEADLINE ON A MAIN AT CARNEGIE HALL, SHE WAS LARGELY SHUT OUT OF PERFORMING AT MAJOR VENUES AROUND THE UNITED STATES BECAUSE OF THE COLOR OF HER SKIN.

STILL, SHE WAS ULTIMATELY THE HIGHEST-PAID AFRICAN-AMERICAN VOCALIST DURING A 28 YEAR CAREER IN WHICH SHE HAD TO REINVENT HERSELF TO SURVIVE AND KEEP SINGING.

>> SISSIERETTA JONES WAS BORN IN PORTSMOUTH, VIRGINIA IN 1869.

THIS EMPTY LOT IS WHERE HER FAMILY MOVED WHEN SHE WAS SEVEN YEARS OLD.

>> WHAT BROUGHT HER FAMILY TO PROVIDENCE?

>> BETTER ECONOMIC OPPORTUNITIES.

THERE WAS NOT A LOT OF OPPORTUNITIES FOR THE FORMER ENSLAVED AND HER FATHER, JEREMIAH, BECAME THE PASTOR OF A BAPTIST CHURCH AND HER MOTHER HENRIETTA SANG IN THE CHURCH CHOIR.

WE THINK SISSIERETTA GOT HER SINGING VOICE FROM HER MOM.

LET'S GO TO THE CHURCH SO YOU CAN SEE WHERE HER FATHER PASTORED.

>> WHERE IS THE CHURCH?

>> YOU SEE THE HIGHWAY?

THAT IS WHERE THE CHRCH WAS LOCATED.

>> IS THAT WHERE SISSIERETTA JONES BEGAN HER CAREER?

>> SHE BEGAN SINGING AT THE CHURCH WHEN SHE WAS 14 THEN WENT ON TO STUDY MUSIC AT PROVIDENCE ACADEMY OF MUSIC AND LATER IN BOSTON.

>> DESCRIBE WHAT HER VOICE SOUNDED LIKE.

>> NO ONE KNOWS.

THERE ARE NO RECORDINGS.

BUT THERE ARE NEWSPAPER REVIEWS THAT RAVE ABOUT HER VOICE.

>> WHAT SONGS OR SHE MOST FAMOUS FOR?

>> SHE IS MOSTLY KNOWN FOR OLD FOLKS AT HOME, LIKE AVE MARIA.

>> DID SHE MOSTLY SING INSIDE OF THE CHURCH?

>> ACTUALLY, SHE TOURED IN EUROPE AND SING BEFORE ROYALTY.

THEY GAVE HER 17 MEDALS THAT SHE WOULD PROBABLY DISPLAY ON HER DOWN WHENEVER SHE PERFORMED.

-- PROUDLY DISPLAY ON HER DOWN -- GOWN WHENEVER SHE PERFORMED.

THEY REFERRED TO AS THE BLACK PATTY, AFTER THE FAMED ITALIAN SOPRANO.

SHE DIDN'T CARE FOR THAT NICKNAME TOO MUCH.

SHE PREFERRED TO BE CALLED MADAME JONES.

>> IT SOUNDS LIKE SISSIERETTA JONES WAS VERY LOVED IN EUROPE.

HOW DO PEOPLE RESPOND TO HER IN THE UNITED STATES?

>> SHE FACED SEVERE RACISM.

SHE PERFORMED FOR U.S. PRESIDENTS, HARRISON, MCKINLEY, CLEVELAND AND THEODORE ROOSEVELT.

ALL BUT ROOSEVELT, SHE HAD TO ENTER THE WHITE HOUSE TO THE BACK DOOR.

>> WAS A SHE BARRED FROM PERFORMING OTHER LOCATIONS?

>> YES.

IN 1896, THE METROPOLITAN OPERA FOR A LEAD ROLE BUT DENIED HER THE ROLE BECAUSE OF HER RACE.

>> THAT MUST'VE BEEN DEVASTATING.

>> I SUSPECT IT WAS CRUSHING FOR HER.

SHE DIDN'T HAVE MANY OTHER OPTIONS.

SHE ENDED UP HEADLINING A TRIP CALLED BLACK PATTY TROOPER DOORS.

>> WHAT DID THEY PERFORM?

>> THEY HAD TO PERFORM IN BLACKFACE.

THERE WERE SINGERS, DANCERS, JUGGLERS, ACROBATIC ACTS.

THE ONE THING SHE WAS ABLE TO GET OUT OF IT WAS SHE ENDED EACH SHOW SINGING AVE MARIA.

SHE MADE $20,000 A YEAR AT THAT TIME, WHICH MADE HER THE HIGHEST-PAID AFRICAN-AMERICAN ENTERTAINER AT THAT MOMENT.

>> HOW LONG WAS SHE DOING THAT FOR?

>> ABOUT 28 YEARS.

>> WHEN DID SHE STOP PERFORMING?

>> SHE RETIRED IN 1915 BECAUSE HER MOM BECAME ILL.

SO SHE RETURNED TO PROVIDENCE TO TAKE CARE OF HER.

RIGHT AROUND HERE IS THE HOUSE THEY LIVED IN.

THE STREET AND HOUSE NO LONGER EXISTS.

>> ONCE SHE RETIRED, HOW WAS SISSIERETTA JONES ABLE TO SUPPORT HERSELF?

>> SHE WAS THE HIGHEST EARNING AFRICAN-AMERICAN PERFORMER AT HER TIME.

SO SHE WAS ABLE TO LIVE OFF OF HER EARNINGS.

BUT TIMES GOT HARD.

SHE HAD TO SELL THREE OF THE FOUR HOUSES SHE OWNED THEN SHE HAD TO SELL SOME OF HER MEDALS.

IN 1933, SISSIERETTA JONES DIED PENNILESS AND WAS BURIED HERE AT GRACE CHURCH CEMETERY.% IN AN UNMARKED GRAVE.

THEN, 85 YEARS LATER, THE PROVIDENCE COMMUNITY RAISED MONEY FOR HER TO HAVE THIS BEAUTIFUL HEADSTONE.

SHE WAS BEAUTIFUL, WASN'T SHE?

>> SHE WAS A BEAUTIFUL WOMAN.

AS YOU REFLECT ON HER LIFE, WHAT DO YOU THINK HER LEGACY IS?

>> I THINK WITHOUT SISSIERETTA JONES, THERE WOULD BE NO MARIAN ANDERSON, THERE WOULD BE NO JESSE NORMAN.

I BELIEVE THAT AFRICAN-AMERICAN OPERA SINGERS OVER THERE CAREER TO MADAME SISSIERETTA JONES.

SHE ONCE SAID, WE COME THROUGH AFFLICTION INTO PERSECUTION AND BECOME AS GOLD, TRIED IN A FIRE.

AS THE CRUSHED ROSE EMITS THE SWEETEST PERFUME, SO THE NEGRO, BRUISED AND BEATEN SINGS THE SWEETEST SONGS.

THAT IS HER TRUE LEGACY.

>> OUR THANKS TO DOROTHY AND APRIL.

I AM PAMELA WATTS.

>> THANK YOU FOR JOINING US.

WE WILL BE BACK NEXT WEEK WITH ANOTHER ADDITION OF RHODE ISLAND PBS WEEKLY.

♪ [CAPTIONING PERFORMED BY THE NATIONAL CAPTIONING INSTITUTE, WHICH IS RESPONSIBLE FOR ITS CAPTION CONTENT AND ACCURACY.

VISIT NCICAP.ORG]