In Part III of Dark Princess, protagonist Matthew Towns is pardoned from his crimes and becomes a prominent figure in Chicago politics through the agenda of crime boss Sammy Scott and his secretary, Sara Andrews. Sammy Scott is the charismatic head of the Black Chicago political machine, fluent in dealings with “the ‘boys’ [gangs], liquor, prostitution, and the corresponding parts of the white world” (97).
To understand the extent of Sammy Scott’s underground activity, one must be aware of the context surrounding alcohol in the 1920s. The following knowledge may be familiar to most who have taken an American history class: adamant opposition to alcohol consumption in the United States was prevalent since the mid-19th century, when religious revivalism movements advocated for temperance, ultimately culminating in the passage of the 18th Amendment in 1919. The 18th Amendment banned the sale, manufacture, and transportation of alcoholic beverages, beginning the era of Prohibition. However, the alcohol ban was difficult to enforce, and alcohol sale moved underground to establishments known as speakeasies. The owners of speakeasies, which have become an icon of the 1920s, were likely involved in other forms of organized crimes as well. As implied by the “liquor” portion of Sammy Scott’s expertise, it is extremely probable that he funded or owned speakeasies himself. One can only imagine the importance of these technically illegal establishments to Black communities in urban areas. Although Internet articles focusing specifically on Black-owned speakeasies are not numerous, there are some detailing the popularity of Black nightclubs in major cities such as New York City and Pittsburgh. Black-owned speakeasies were often funded with non-legal methods when Black people where often excluded from traditional loan opportunities. Nevertheless, these establishments were visited by Black and White clientele alike, and some Black-owned clubs catered towards the upper class of all races. Much of the existing educational literature also acknowledges Black nightclubs or cabarets as places that fostered a rich era of performance, music, fashion integral to African-American culture in relation to the Harlem Renaissance. At the same time, there is a lack of attention to the Black crime bosses who may have contributed to the success of these Black-owned speakeasies. The existence of characters such as Sammy Scott reveals that Black crime bosses may have been active at the same time and location as their Al Capone-esque white counterparts, a reality which (like much of Black American history) has often been overlooked in general American education.
Works Cited
DuBois, W.E.B. Dark Princess, Oxford University Press, 2007.
Pitz, Marylynne. “1920 to 1939: From Speakeasies to Harlem Nights.” Pittsburgh Post-Gazette, 18 Apr 2004, https://www.post-gazette.com/uncategorized/2004/04/18/1920-to-1939-From-Speakeasies-to-Harlem-Nights/stories/200404180144. Accessed 20 Sep 2020.
“Prohibition.” History.com, https://www.history.com/topics/roaring-twenties/prohibition. Accessed 20 Sep. 2020.
“A New African American Identity: The Harlem Renaissance.” National Museum of African American History and Culture. Smithsonian, https://nmaahc.si.edu/blog-post/new-african-american-identity-harlem-renaissance. Accessed 20 Sep. 2020.