September 23, 2026 • 32 mins
Yves digs into the story of Delilah Beasley, the first Black American woman to be published regularly in a major metropolitan newspaper.
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Speaker 1 (00:05):
Hey, this is Annie.
Speaker 2 (00:06):
And Samantha.
Speaker 3 (00:07):
And welcome to Stuff I Never Told You, a production
of iHeartRadio. And it's time for another edition of Female First,
which means we are once again joined by the tremendous,
the trailblazing, Eves.
Speaker 1 (00:26):
Welcome, Eves. Hello. I'm trailblazing now. Okay. I think so.
Speaker 3 (00:31):
Every time we talk to you, you're up to something like,
That's a thing you can do?
Speaker 2 (00:34):
I love it.
Speaker 1 (00:36):
I'll take it. Yes.
Speaker 3 (00:37):
Well, we have had some technical difficulties, so we didn't
get a chance to check in with you before we
started recording.
Speaker 1 (00:45):
How have you been, Yves? Great. I have been good.
I have been doing a lot of cool things in
the city. I recently moved into a studio, a new
studio that I have that's an art and media production
and yoga studio. It is such a shape-shifting being. I
(01:07):
consider it a multi- a multi-passionate, just like I am.
The studio is an outgrowth of my very weird and
all over the place mind. So it's been a process
of getting that in the state that I want to be,
in the state that I want it to be in.
But I mean, it's constantly, I'm just considering it constantly
(01:29):
in a state of being that I want it to
be in. I'm embracing it in all of its phases. Yeah,
so everything's, good over here we're moving into spring while
y'all over there in that hemisphere are moving into fall
and this means I keep getting served this is random
(01:49):
but this means I keep getting served like fall recipes
and I'm like damn.
Speaker 4 (01:55):
It fall recipes are pretty good the fall recipes look
so good but like I'm not in that mood right
now I need something a little less cozy and dense.
Speaker 1 (02:08):
But overall, things are good. That's awesome.
Speaker 3 (02:13):
I want to hear more about the studio. Like, every
time I want to check in and see what phase
it is.
Speaker 1 (02:17):
Yeah. Next time I'll update you on where we are. Excellent. Excellent.
Speaker 3 (02:23):
You know, I was thinking, and you have just demonstrated
right before we started recording and in that explanation, you
have quite the way with words, Yves.
Speaker 1 (02:33):
Mm-hmm. Yes. Hmm.
Speaker 3 (02:40):
So I was wondering, before we get into this topic
I'm really excited to talk about, I know some of
both of y'all's writing experiences, but I'm wondering, like, particularly
in elementary school or high school, college, were you involved in, like,
yearbook or publishing something, like a school paper, anything like that?
Speaker 1 (03:04):
I was a little bit involved in the school magazine.
I think I did some pieces for the school magazine
when I was in college. Shockingly, though, I wasn't a
yearbook person. I was adjacent to a lot of the
yearbook people in high school, but I wasn't a yearbook person.
I think there was a literary club at the school with...
(03:27):
There was a super cool professor that the year before
I got to the school, he... was no longer there.
He was just one of those noted teachers. This was
in high school. He was one of those noted teachers
that everybody would talk about. And I didn't get to
experience his class because I think he left before I
(03:47):
got there. So actually, I don't think that I was.
I was just always doing writing things. I did writing
competitions and things like that. But I remember one writing
competition that I specifically did. I don't know if I've
told this story on here before, but if I did,
it was a long time ago. But I remember one
(04:09):
that I did, and they invited me to come do it,
and I did it, aced it, loved it. Had a
great time, by the way. Competitive writing is fun, but
that's probably because I'm a nerd. So you had a
time period, and you were given a topic, and you
had to write an essay on it. longhand. And there, like,
(04:31):
I remember, I was like, oh, God. I was falling
in love with my writing as I was writing it. Like,
I love this that I'm writing. And I knew I
was going over the word limit. And I was like,
screw it. Like, I knew in real time that I
wasn't going to win. Because I went over the word limit,
but it was more important to me to say what
(04:52):
I needed to say in the way that I wanted
to say it. And I had enough time to. I'm like, dang,
I got enough time. I'm like on a roll. It's
flowing out of me. So I did that. And at
the end, the administrator, professor, teacher, the person who brought
me on to do it, he was like, you would
have won, but you like, why did you write so much?
I'm like, what do you mean? Was it not good?
(05:14):
Were you not entertained?
Speaker 3 (05:15):
Yeah.
Speaker 1 (05:17):
It was my vision. Right, exactly. The visionary must complete
the vision. So, no, I did a lot of writing things,
but I don't think I was ever really formally involved
in any, like, specific writing clubs or yearbook or anything
like that.
Speaker 3 (05:34):
I do love that you were, like, pedal to the metal.
I'd rather write what I want to write than win.
Speaker 1 (05:39):
I think that's, yeah, excellent. It can be a problem, like,
if you extrapolate that to other... Other circumstances. Pros and cons.
Pros and cons. Yeah. What about you, Samantha?
Speaker 2 (05:53):
My own writing. I did not get involved in much
in high school like that. I was a drama person,
and I worked a lot. And I did a little
bit of cheerleading, but I did write a lot. I
think we've talked about my bad poetry. Yeah, I still
have books of my very bad poetry. And I loved that.
But I did get something entered in one of those, like,
(06:14):
you can pay... to get your work published. It's in
this work of stuff, but you have to pay to
receive it type of thing. So I'm pretty sure I
got scammed, and I really felt like I did.
Speaker 1 (06:26):
Do something, though.
Speaker 2 (06:26):
I was like, definitely, my poem is one of the
best in the poem of 500 from other high school
students around the country.
Speaker 1 (06:35):
You still have it?
Speaker 2 (06:37):
No, I never bought the book.
Speaker 1 (06:38):
I didn't buy the book. What? Come on.
Speaker 2 (06:40):
It's too much money.
Speaker 1 (06:41):
I didn't have that. No. I would have loved to
read it. I actually have that money.
Speaker 2 (06:47):
Did y'all have in elementary school the books that the
schools would make out for each little class where they
would pick out a few of the classes and then
publish it, I want to say that loosely, within the
school and have somebody's drawing the front, this is like
the fifth grade, whatever.
Speaker 1 (07:07):
I had stuff in that published. Does that count? I
like it, yeah. One was a leprechaun story.
Speaker 2 (07:13):
It won me $ 10. Ten bucks?
Speaker 1 (07:15):
I wish I could read that.
Speaker 2 (07:18):
I think you can, but it's essentially my how-to trap
a leprechaun. It all had to do with a glass
jar and a crayon, gold crayon that colors a piece
of paper that you wrap over a penny.
Speaker 1 (07:34):
End of story.
Speaker 3 (07:34):
Wow.
Speaker 1 (07:36):
Early adopter of the cryptid story. I'm here for it.
Speaker 2 (07:39):
You know? You know.
Speaker 1 (07:40):
So those are my experiences.
Speaker 2 (07:42):
Annie, I don't know if I know.
Speaker 1 (07:44):
Did you join any of these things? I didn't do yearbook.
Speaker 3 (07:48):
I did in elementary school. We had like a newsletter.
And I would sometimes write for that. And it felt
very like I'm an investigator. Because we also had that.
I think we've talked about this before. But, you know,
the banks where you could. the elementary school bank where
you could put money in and you had the person
(08:09):
who was keeping track of the money and all that
was supposed to teach you responsibility. I'd be reporting on that.
Speaker 1 (08:15):
I too had.
Speaker 3 (08:16):
A lot of embarrassing poetry and in high school, I
think it was freshman year, I hope it was freshman year,
because I published, we put out a little book that
you could that all the students got to take home.
And my entry was a poem. It was a very
(08:39):
emo poem. And it had a lot of clip art
of gothic fairies and butterflies.
Speaker 1 (08:50):
Yeah. Yeah, I really went all in.
Speaker 3 (08:54):
And to this day, I think I do still have it,
but I'm too ashamed to even look upon it. very
specific time of my life where i was like emo.
Speaker 1 (09:08):
All my whole wardrobe was just black clothes and i
guess gothic fairies yes but did you ever do a
gothic fairy costume i did yeah yep Sure did. That's
a memory I hadn't expected to open up. That was
really specific, Eve. I was just curious. That was really.
Speaker 2 (09:29):
Specific that you would pinpoint that.
Speaker 1 (09:32):
That wasn't in my head.
Speaker 3 (09:33):
Eve's is good at this, Eve. Curious investigative minds. Which
is one of the reasons I wanted to talk about this.
Because of the person we're talking about today, who I'm
very excited to discuss. Who are we talking about today, Eve's?
Speaker 1 (09:49):
Yes, that is a great segue because we were talking
about Delilah Beasley, who was the first Black American woman
to be published regularly in a major metropolitan newspaper. So
(10:12):
she was born in Cincinnati, Ohio. In September of 1867,
and as we often go through in these episodes of
Female First, discrepancies around birth years and all kinds of dates.
I've seen also 1871 and 1872, and I can tell
(10:35):
that those sources are determining her age considering those birth years.
So sometimes you'll see these discrepancies where it's like, she
was 12 years old when she did this. But that
was according to her being born in 1871. But that
doesn't change the impressiveness of her accomplishments. No, the age doesn't.
(11:00):
Her parents were Daniel and Margaret Beasley. She was the
oldest of five siblings. And she went to public schools
in Cincinnati, which were segregated at the time. And around 1883,
she started to write short pieces for local newspapers, including
the Cleveland Gazette and the Cincinnati Inquirer. She was writing
(11:22):
about church and social activities in the city. But unfortunately,
her parents died pretty early. I didn't see an exact
date for this, but that it was just probably sometime
in the early 1880s. And the children ended up getting
split up, living in different houses. And Delilah... had to
find some work to make money to support herself. She
(11:43):
started working, doing domestic labor for a judge in Cincinnati.
She worked doing massages. She worked at the Buffalo Sanitarium
in New York. And then she became the head massage
therapist at a bathhouse in Michigan. So it seemed like
she had this kind of, there was a chain of
(12:06):
jobs that she had that were in this healthcare-adjacent industry,
therapeutic things that she was doing to be able to
make money for herself. And so she was in that
zone for a while. But she was writing, and the
work that she started off doing as a writer, she
stayed focused on that too. So the editor of the
(12:31):
Ohio State Tribune and Catholic Tribune, Daniel A. Rudd, noticed
her work and enlisted her to write for those newspapers.
And in 1886, she started writing pieces for the Sunday
edition of the Cincinnati Inquirer. Unfortunately, her byline wasn't on
a lot of the pieces that she wrote for those newspapers.
(12:52):
But she started getting bylines in the Cleveland Gazette in 1887.
And she also gained this huge interest in the history
of Black Americans today. which is going to continue to
drive the work that she does in writing and then
off of the page as well. So she ended up
(13:12):
moving to California in 1910. She started off working as
a nurse for a former client, but she started taking
history classes at the University of California at Berkeley. She
dug through records. She started her work of digging, basically,
going through records, hospitals, newspapers, personal letters that people wrote
(13:33):
to each other. And she was doing some field work,
like she was on the ground interviewing Black people who
would have been considered pioneers across the state and collecting
oral histories, going to county libraries to find records, going
to the California archives and finding records at the Bancroft
(13:54):
Library at UC Berkeley. And so she was immersing herself
in the world of of Black people who were the
first to do things. And I should have said that
up top because this is quite a meta episode. And
one reason I just, I felt like it would be
kind of fun to talk about Delilah Beasley today because
(14:18):
she was finding people who were trailblazers. She was talking
to people directly who had, who made history. And they
were pioneering in their their relative fields, and those fields
were across the board. So the arts, politics, everything from
top to tail. But she also, in addition to her
(14:41):
being invested in it in a more archival and journalistic
way and literary way, she was also interested in it
from an activism perspective, like from a social good perspective.
After the film Birth of a Nation came out in 1915,
she written protests out in the white newspaper, the Oakland Tribune.
(15:06):
Although it wasn't as much of a, like, don't go
watch this film. She would come at things from the
perspective of Black upliftment. Like, that was always her first thing.
her priority was showing how amazing Black people are and
(15:28):
what their accomplishments are. And so in 1915, she started
writing for the Oakland Sunshine, which was a Black newspaper.
And she was kind of on this mission to improve
how everybody, the general population of perceived Black people. And
that was the track that a lot of Black people
(15:50):
did take at the time was to just show to
a general audience beyond just Black people, beyond just putting
things in Black publications, to a general audience who Black
people were and trying to show them in a positive light.
And there was an article that she wrote soon after
(16:11):
she had wrote that initial piece for the Oakland Tribune
that was criticizing the birth of a nation. And she
said this, news of special interest to us as a
people ought to be discussed in our own papers among ourselves.
But if a bit of news would have a tendency
to better our position in the community, then it should
not only be published in our own race papers, but
(16:34):
in the papers of the other race as well. So
that's that mentality that I was talking about, that a
lot of people at the time wouldn't have agreed with
that approach. And then there were a lot of people
who would have because it could have been seen as
kind of pat and saccharine to just say, oh, look
at us. Look at Black people. We are actually good
(16:55):
because it's more of a you're on the defense in
a way saying, I know all these people think we're horrible,
but we have to prove them wrong. But this was
her approach. And she said, was 10 toes down on it.
In 1918, she published two articles in the Journal of
Negro History. One of them was about slavery in California,
(17:17):
which you can go read online right now. You can
find it on the Internet Archive and read it. And
that document was pretty pioneering in itself to talk about
the history of slavery in California. And in 1919, this
is when her seminal work was put out. She got
(17:38):
money from the general manager of the Oakland Tribune, Frances B. Loomis,
to have her history that she had been working on
for so many years about California, and she had that published.
It was called The Negro Trailblazers of California. And at
this point, she had been working on it for almost
(17:59):
a decade. It ended up being about 300 pages long,
and this is what she put her blood, sweat, and
tears in it, According to the foreword that was written
by Charlotte A. Bass, who was the managing editor of
the California Eagle, she said that she literally sacrificed her
health and money to do the research for the book.
(18:20):
But it was a book about Black people. American pioneering
figures in California. She covered people all the way from
the 16th century to the 20th century, and it was
split into three parts, one of which was historical, one
that was biographical, and another one that was about Black
people in the present day. And it included diary entries, poetry, photos,
(18:45):
newspaper pieces, interviews with Black folks, and it also had
illustrated portraits of the people. And it was a first,
a first history of Black Americans in California. So there
were a lot of firsts in there. And reviews of
the book, though, were mixed. There were people who acknowledged
(19:07):
the importance of that work and how she really was
dedicated to her mission because she spent eight years not
even being a person. She wasn't even from California.
Speaker 3 (19:18):
But she.
Speaker 1 (19:22):
put in all those years and actually went out to
places that some other people might not have gone to
get those oral histories. So people like Charlotte Abass, the
person who did the fort, commended her commitment to the cause.
But then there was Carter G. Woodson, who acknowledged the
importance of the work, but was also critical of her
(19:46):
style and her grammar. He said in a review that
he he wrote, when one considers the numerous valuable facts
in the book, however, he must regret that the author
did not write the work under the direction of someone
well-grounded in English composition. As it is, it is so
much of a hodgepodge that one is inclined to weep
(20:06):
like the minister who felt that his congregation was consisted
of too many to be lost, but not enough to
be saved. You know, shout out to Carter G. Woodson.
You know, he's very pioneering in his own right. But
that was a bit wordy, I would say. His own
criticism was a little wordy. And I, in reading about
(20:26):
her story, there was mention of, like, Delilah being not
the best in her... her style and her grammar and
how she actually wrote and that it had to be
cleaned up by the editors. And I think those parts
are just part of a person's story. Yeah. Different people have...
(20:47):
I feel many ways about it, which is why I'm
tripping over this right now, because I almost kind of
didn't want to bring that to the episode. But it's
also like.
I didn't want to bring it because that's what the
editor is for. Like that's the process whenever anybody writes.
So to bring that up as part of her story
feels a little bit like it's denigrating of the work
that she was doing because like everybody is better because
(21:10):
of their editors. Every writer is made better because of
the work that's done and their own subsequent drafts and
the drafts of people that are helping them out. Like
that's the whole point of it. And also there's always
this expectation that's put on Black women and to be
perfect from jump. So it feels like it's coming from
that vein too. But at the same time, I do
(21:33):
feel like it can be very, it can be inspiring
to know that somebody wasn't perfect because I think there
are so many of us artists and writers and people
who are working in all different kinds of fields who
may feel a little bit put down by the fact
that they have flaws in certain ways. And so, I
(21:54):
do think it's worth bringing to the conversation in that way. But,
you know, okay, she couldn't write, but guess what she
was doing? She was getting bylines, okay? And the same
thing happens today. Whether or not a person likes someone's
writing or not, like, their writing is still published. And obviously,
(22:14):
this work was mission-driven and mission-critical for Delilah. It was
important to think she was talking about, and the... Sentiments
that she was putting forth in her pieces went into,
she brought into the work that she was doing in
her life beyond her writing. So from 1923 all the
way to 1934, she wrote the column Activities Among Negroes
(22:38):
for the Oakland Tribune. And that is continuing in this
vein of the work that she was doing for her book.
She was, and the work she was doing previously, just
kind of logging the social and local activities that Black
people were doing. She was doing this for the Oakland Tribune,
which was at the time the largest daily newspaper in
(22:59):
Northern California. The column that she did for them was
printed in the local news section, and it was about
church and social events, births and deaths in the Black community.
And sometimes she even traveled to other places in the state,
to report. And she got info from Black newspapers from
other states as well to be able to bring those
(23:19):
to her column. And she wrote that this was her
mission in that column. The writer will continue to work
for a better racial understanding by giving to the reading
public a knowledge of the efforts, ability, and progress of
the Negro peoples throughout the world. So back to this
guiding principle of hers to continue to uplift Black people
(23:42):
rather than focusing so much on the criticism of white
people and how they could do better and what they
were doing. She was just like, I'm going to hone
in on Black people, what we're doing, and I'm going
to bring that to my writing and show it in
a positive light. And this is the column that made
(24:03):
her the first Black American woman with a regular column
in a major newspaper. And there were female firsts. There
were a lot of female firsts. She was also focused
on women too. So, you know, it wasn't just limited
to women, but there were a lot of female firsts
that she wrote about in the column. Like the first
Black American teacher in Oakland Public Schools, the first Black
American woman to get a master's degree in music, and
(24:25):
the first Black woman to be admitted to the California bar,
et cetera, et cetera. So she was paid about $ 10
a week for a column. And She highlighted the positive
contributions that Black people as individuals and Black people in
institutions made to society. She was a religious woman. She
(24:46):
was a Catholic woman. So there was a lot of
Catholic focus in the work that she was doing. She
talked about Black Catholics in Milwaukee that were building a
school and Black Fisk University students who raised money to
fund a building for the school. But she herself, she
didn't make a lot of money from her work, unfortunately,
(25:07):
as we see in a lot of these stories of
female firsts. She lived in a rented room. She could
have made more money from jobs in the healthcare field, ostensibly,
but she spent most of her time writing for newspapers.
And that might go back to what Charlotte Bass was
saying about her sacrificing her health and money to be
(25:33):
able to do the reporting work that she was doing.
And she did sacrifice her health. So she had some
health troubles, heart disease, high blood pressure, hearing issues, things
of the sort that affected her. That said, she was
very active in her social life as well. She was
a part of all these women's clubs. She was a
(25:54):
part of the Alameda League of Women Voters, the League
of nations of the California Federated Women's Clubs, the NAACP.
She was the first Black member of the Oakland Council
of Church Women. And on that council, she also founded
a race relations committee. And in her writing, I think
(26:16):
of them as little pats on the back, little written
pats on the back that she would give white folks
for including Black women in these integrated activities. So she
would be like, look, they were so gracious as to
bring Black people into these activities. She would uplift integrated things.
(26:37):
But I found it pretty endearing in her story that
there were Black women in Oakland who formed a club
named after her. And it seems like they had this
pretty extended initialism or acronym, whatever you want to call it.
I don't know what it's called when you back, you
do it in the opposite direction. Yeah. But apparently they
made her name stand for something is what I'm saying.
(26:59):
And that was deeds everlasting and lending a hand. Let's
be ever alert, serving lovingly every year. So obviously acts
of service was clearly something that she was known for
doing and something other people wanted to take after her in,
which if I do say so, is a good thing
(27:20):
to model and be a role model in that way
to other people. Yeah. She organized her own integrated activities.
She helped establish a branch of the National Urban League
in Oakland. And one of the things that she protested
was how white editors would use words that were denigrating
(27:42):
to Black people like n * * * a and
pickaninny and darky. And she went on this effort to
have the editors stop using those words and also to
capitalize the word Negro.
Speaker 3 (27:53):
And.
Speaker 1 (27:55):
Even in that case, she still positioned her argument so
as to kind of avoid conflict in appearing seemingly confrontational.
It was like, Black people are for the better if
you don't use the word in this way rather than
coming at it in a more finger-pointing, confrontational kind of way,
(28:16):
which wasn't her style. And in fact, in 1929, the crisis,
which was NAACP's magazine deemed her one of the leading
integrationists in the country. She was involved in that organization
in other ways. She was a national historian for them
and wrote a preface to their history in 1933. But
(28:39):
the next year in August in California, she died. She's
buried in Oakland. And Lena M. Weisinger continued her column
until 1943 after she died. But her work lives on.
Like I say, you can read it online. And her
work is also in collections and archives. The Oakland History
(29:01):
Center has some of her work. So you can still
read it. And fortunately, the work that she did also
had an impact, I'm sure, in many ways while she
was alive and still does today. Yeah, absolutely. She did
so much work.
Speaker 3 (29:19):
And this was fun to have like a meta episode
and hear about the first and then the female first.
I wasn't expecting. You know, because here we are on
female first talking about her.
Speaker 1 (29:32):
So that's kind of cool. Yeah. If only we could
send her this episode.
Speaker 3 (29:38):
Yeah.
Speaker 2 (29:39):
Yeah.
Speaker 1 (29:40):
Exactly. Exactly.
Speaker 3 (29:43):
I know it's a great story of somebody who knew,
this is what I want, this is what I want
to do, this is who I want to uplift, and
I'm going to do it. And as you said, and
as we kind of mentioned at the top, there can
be pros and cons to stuff like that, because it
did impact her health. But she just, it feels like
she had such a drive and just like a compass.
Speaker 1 (30:05):
This was her North Star.
Speaker 3 (30:06):
And to inspire a whole group that's like named after her,
that's so fantastic.
Speaker 1 (30:15):
Yeah. Is that a new goal of yours now, Annie,
to have? Inspire a group like that?
Speaker 3 (30:22):
It's a good group.
Speaker 1 (30:23):
What would the acronym be? Yeah, what would it be? Oh,
I don't know. I'll have to think about it. That's
a new project. I do love that her name is
so long. And they came up with something. Every bit.
They made it work. Yeah.
Speaker 3 (30:39):
I would say you would be easy, but you've got
like two.
Speaker 1 (30:44):
The why is causing a problem. The why and then
a B immediately. Like, yeah.
Speaker 4 (30:50):
Yeah.
Speaker 1 (30:50):
Well, I think this should be a project. We should all...
think about this yeah you've got some work to do
or if any of the people who are listening have
any ideas for acronyms uh be kind though don't yeah
don't make it weird or mean don't make it weird
that's a great slogan just in general to go about
(31:11):
life in life oh well.
Speaker 3 (31:16):
I'm really happy that uh her work still survives and
that um people can check it out so Listeners should
go do that if you would like to. And you
should also check out what Eves is up to. So
where can the good listeners find you, Eves?
Speaker 1 (31:32):
Yes, you can find me at evesjeffcoat.com. That's spelled, oh,
for anybody who wants to create that group and acronym
for it. My name is spelled Y-V-E-S. J-E-F-F-C-O-A-T. So if
you go to evesjeffcoat.com, you can pretty much get to
everything from there. But if you want to go directly
(31:54):
to Instagram, I'm at notapologizing on there. And then I'm
also on many other episodes of Stuff Mom Never Told You,
talking about female firsts, women in history who were pioneering
in their various fields.
Speaker 3 (32:08):
Yes. So go check all of that out if you
haven't already, listeners. And thanks as always, Eves, for being
here If you would like to contact us, you can.
You can email us at hello at stuffandnevertoldyou.com. You can
find us on Blue Sky at Mom's Stuff Podcast. We're
on Instagram and TikTok at stuffandnevertoldyou. We're also on YouTube.
We have some merchandise at Content Bureau, and we have
a book you can get wherever you get your books. Thanks,
(32:29):
as always, to our super producer, Rima, and our executive producer, Maya.
Speaker 1 (32:32):
Thank you. And thanks to you for listening.
Speaker 3 (32:34):
Stuff and Never Told You is a production by Heart Radio.
For more podcasts from Heart Radio, you can check out
the Heart Radio app, Apple Podcasts, or wherever you listen
to your favorite shows.
Hey, this is Annie.
Speaker 2 (00:06):
And Samantha.
Speaker 3 (00:07):
And welcome to Stuff I Never Told You, a production
of iHeartRadio. And it's time for another edition of Female First,
which means we are once again joined by the tremendous,
the trailblazing, Eves.
Speaker 1 (00:26):
Welcome, Eves. Hello. I'm trailblazing now. Okay. I think so.
Speaker 3 (00:31):
Every time we talk to you, you're up to something like,
That's a thing you can do?
Speaker 2 (00:34):
I love it.
Speaker 1 (00:36):
I'll take it. Yes.
Speaker 3 (00:37):
Well, we have had some technical difficulties, so we didn't
get a chance to check in with you before we
started recording.
Speaker 1 (00:45):
How have you been, Yves? Great. I have been good.
I have been doing a lot of cool things in
the city. I recently moved into a studio, a new
studio that I have that's an art and media production
and yoga studio. It is such a shape-shifting being. I
(01:07):
consider it a multi- a multi-passionate, just like I am.
The studio is an outgrowth of my very weird and
all over the place mind. So it's been a process
of getting that in the state that I want to be,
in the state that I want it to be in.
But I mean, it's constantly, I'm just considering it constantly
(01:29):
in a state of being that I want it to
be in. I'm embracing it in all of its phases. Yeah,
so everything's, good over here we're moving into spring while
y'all over there in that hemisphere are moving into fall
and this means I keep getting served this is random
(01:49):
but this means I keep getting served like fall recipes
and I'm like damn.
Speaker 4 (01:55):
It fall recipes are pretty good the fall recipes look
so good but like I'm not in that mood right
now I need something a little less cozy and dense.
Speaker 1 (02:08):
But overall, things are good. That's awesome.
Speaker 3 (02:13):
I want to hear more about the studio. Like, every
time I want to check in and see what phase
it is.
Speaker 1 (02:17):
Yeah. Next time I'll update you on where we are. Excellent. Excellent.
Speaker 3 (02:23):
You know, I was thinking, and you have just demonstrated
right before we started recording and in that explanation, you
have quite the way with words, Yves.
Speaker 1 (02:33):
Mm-hmm. Yes. Hmm.
Speaker 3 (02:40):
So I was wondering, before we get into this topic
I'm really excited to talk about, I know some of
both of y'all's writing experiences, but I'm wondering, like, particularly
in elementary school or high school, college, were you involved in, like,
yearbook or publishing something, like a school paper, anything like that?
Speaker 1 (03:04):
I was a little bit involved in the school magazine.
I think I did some pieces for the school magazine
when I was in college. Shockingly, though, I wasn't a
yearbook person. I was adjacent to a lot of the
yearbook people in high school, but I wasn't a yearbook person.
I think there was a literary club at the school with...
(03:27):
There was a super cool professor that the year before
I got to the school, he... was no longer there.
He was just one of those noted teachers. This was
in high school. He was one of those noted teachers
that everybody would talk about. And I didn't get to
experience his class because I think he left before I
(03:47):
got there. So actually, I don't think that I was.
I was just always doing writing things. I did writing
competitions and things like that. But I remember one writing
competition that I specifically did. I don't know if I've
told this story on here before, but if I did,
it was a long time ago. But I remember one
(04:09):
that I did, and they invited me to come do it,
and I did it, aced it, loved it. Had a
great time, by the way. Competitive writing is fun, but
that's probably because I'm a nerd. So you had a
time period, and you were given a topic, and you
had to write an essay on it. longhand. And there, like,
(04:31):
I remember, I was like, oh, God. I was falling
in love with my writing as I was writing it. Like,
I love this that I'm writing. And I knew I
was going over the word limit. And I was like,
screw it. Like, I knew in real time that I
wasn't going to win. Because I went over the word limit,
but it was more important to me to say what
(04:52):
I needed to say in the way that I wanted
to say it. And I had enough time to. I'm like, dang,
I got enough time. I'm like on a roll. It's
flowing out of me. So I did that. And at
the end, the administrator, professor, teacher, the person who brought
me on to do it, he was like, you would
have won, but you like, why did you write so much?
I'm like, what do you mean? Was it not good?
(05:14):
Were you not entertained?
Speaker 3 (05:15):
Yeah.
Speaker 1 (05:17):
It was my vision. Right, exactly. The visionary must complete
the vision. So, no, I did a lot of writing things,
but I don't think I was ever really formally involved
in any, like, specific writing clubs or yearbook or anything
like that.
Speaker 3 (05:34):
I do love that you were, like, pedal to the metal.
I'd rather write what I want to write than win.
Speaker 1 (05:39):
I think that's, yeah, excellent. It can be a problem, like,
if you extrapolate that to other... Other circumstances. Pros and cons.
Pros and cons. Yeah. What about you, Samantha?
Speaker 2 (05:53):
My own writing. I did not get involved in much
in high school like that. I was a drama person,
and I worked a lot. And I did a little
bit of cheerleading, but I did write a lot. I
think we've talked about my bad poetry. Yeah, I still
have books of my very bad poetry. And I loved that.
But I did get something entered in one of those, like,
(06:14):
you can pay... to get your work published. It's in
this work of stuff, but you have to pay to
receive it type of thing. So I'm pretty sure I
got scammed, and I really felt like I did.
Speaker 1 (06:26):
Do something, though.
Speaker 2 (06:26):
I was like, definitely, my poem is one of the
best in the poem of 500 from other high school
students around the country.
Speaker 1 (06:35):
You still have it?
Speaker 2 (06:37):
No, I never bought the book.
Speaker 1 (06:38):
I didn't buy the book. What? Come on.
Speaker 2 (06:40):
It's too much money.
Speaker 1 (06:41):
I didn't have that. No. I would have loved to
read it. I actually have that money.
Speaker 2 (06:47):
Did y'all have in elementary school the books that the
schools would make out for each little class where they
would pick out a few of the classes and then
publish it, I want to say that loosely, within the
school and have somebody's drawing the front, this is like
the fifth grade, whatever.
Speaker 1 (07:07):
I had stuff in that published. Does that count? I
like it, yeah. One was a leprechaun story.
Speaker 2 (07:13):
It won me $ 10. Ten bucks?
Speaker 1 (07:15):
I wish I could read that.
Speaker 2 (07:18):
I think you can, but it's essentially my how-to trap
a leprechaun. It all had to do with a glass
jar and a crayon, gold crayon that colors a piece
of paper that you wrap over a penny.
Speaker 1 (07:34):
End of story.
Speaker 3 (07:34):
Wow.
Speaker 1 (07:36):
Early adopter of the cryptid story. I'm here for it.
Speaker 2 (07:39):
You know? You know.
Speaker 1 (07:40):
So those are my experiences.
Speaker 2 (07:42):
Annie, I don't know if I know.
Speaker 1 (07:44):
Did you join any of these things? I didn't do yearbook.
Speaker 3 (07:48):
I did in elementary school. We had like a newsletter.
And I would sometimes write for that. And it felt
very like I'm an investigator. Because we also had that.
I think we've talked about this before. But, you know,
the banks where you could. the elementary school bank where
you could put money in and you had the person
(08:09):
who was keeping track of the money and all that
was supposed to teach you responsibility. I'd be reporting on that.
Speaker 1 (08:15):
I too had.
Speaker 3 (08:16):
A lot of embarrassing poetry and in high school, I
think it was freshman year, I hope it was freshman year,
because I published, we put out a little book that
you could that all the students got to take home.
And my entry was a poem. It was a very
(08:39):
emo poem. And it had a lot of clip art
of gothic fairies and butterflies.
Speaker 1 (08:50):
Yeah. Yeah, I really went all in.
Speaker 3 (08:54):
And to this day, I think I do still have it,
but I'm too ashamed to even look upon it. very
specific time of my life where i was like emo.
Speaker 1 (09:08):
All my whole wardrobe was just black clothes and i
guess gothic fairies yes but did you ever do a
gothic fairy costume i did yeah yep Sure did. That's
a memory I hadn't expected to open up. That was
really specific, Eve. I was just curious. That was really.
Speaker 2 (09:29):
Specific that you would pinpoint that.
Speaker 1 (09:32):
That wasn't in my head.
Speaker 3 (09:33):
Eve's is good at this, Eve. Curious investigative minds. Which
is one of the reasons I wanted to talk about this.
Because of the person we're talking about today, who I'm
very excited to discuss. Who are we talking about today, Eve's?
Speaker 1 (09:49):
Yes, that is a great segue because we were talking
about Delilah Beasley, who was the first Black American woman
to be published regularly in a major metropolitan newspaper. So
(10:12):
she was born in Cincinnati, Ohio. In September of 1867,
and as we often go through in these episodes of
Female First, discrepancies around birth years and all kinds of dates.
I've seen also 1871 and 1872, and I can tell
(10:35):
that those sources are determining her age considering those birth years.
So sometimes you'll see these discrepancies where it's like, she
was 12 years old when she did this. But that
was according to her being born in 1871. But that
doesn't change the impressiveness of her accomplishments. No, the age doesn't.
(11:00):
Her parents were Daniel and Margaret Beasley. She was the
oldest of five siblings. And she went to public schools
in Cincinnati, which were segregated at the time. And around 1883,
she started to write short pieces for local newspapers, including
the Cleveland Gazette and the Cincinnati Inquirer. She was writing
(11:22):
about church and social activities in the city. But unfortunately,
her parents died pretty early. I didn't see an exact
date for this, but that it was just probably sometime
in the early 1880s. And the children ended up getting
split up, living in different houses. And Delilah... had to
find some work to make money to support herself. She
(11:43):
started working, doing domestic labor for a judge in Cincinnati.
She worked doing massages. She worked at the Buffalo Sanitarium
in New York. And then she became the head massage
therapist at a bathhouse in Michigan. So it seemed like
she had this kind of, there was a chain of
(12:06):
jobs that she had that were in this healthcare-adjacent industry,
therapeutic things that she was doing to be able to
make money for herself. And so she was in that
zone for a while. But she was writing, and the
work that she started off doing as a writer, she
stayed focused on that too. So the editor of the
(12:31):
Ohio State Tribune and Catholic Tribune, Daniel A. Rudd, noticed
her work and enlisted her to write for those newspapers.
And in 1886, she started writing pieces for the Sunday
edition of the Cincinnati Inquirer. Unfortunately, her byline wasn't on
a lot of the pieces that she wrote for those newspapers.
(12:52):
But she started getting bylines in the Cleveland Gazette in 1887.
And she also gained this huge interest in the history
of Black Americans today. which is going to continue to
drive the work that she does in writing and then
off of the page as well. So she ended up
(13:12):
moving to California in 1910. She started off working as
a nurse for a former client, but she started taking
history classes at the University of California at Berkeley. She
dug through records. She started her work of digging, basically,
going through records, hospitals, newspapers, personal letters that people wrote
(13:33):
to each other. And she was doing some field work,
like she was on the ground interviewing Black people who
would have been considered pioneers across the state and collecting
oral histories, going to county libraries to find records, going
to the California archives and finding records at the Bancroft
(13:54):
Library at UC Berkeley. And so she was immersing herself
in the world of of Black people who were the
first to do things. And I should have said that
up top because this is quite a meta episode. And
one reason I just, I felt like it would be
kind of fun to talk about Delilah Beasley today because
(14:18):
she was finding people who were trailblazers. She was talking
to people directly who had, who made history. And they
were pioneering in their their relative fields, and those fields
were across the board. So the arts, politics, everything from
top to tail. But she also, in addition to her
(14:41):
being invested in it in a more archival and journalistic
way and literary way, she was also interested in it
from an activism perspective, like from a social good perspective.
After the film Birth of a Nation came out in 1915,
she written protests out in the white newspaper, the Oakland Tribune.
(15:06):
Although it wasn't as much of a, like, don't go
watch this film. She would come at things from the
perspective of Black upliftment. Like, that was always her first thing.
her priority was showing how amazing Black people are and
(15:28):
what their accomplishments are. And so in 1915, she started
writing for the Oakland Sunshine, which was a Black newspaper.
And she was kind of on this mission to improve
how everybody, the general population of perceived Black people. And
that was the track that a lot of Black people
(15:50):
did take at the time was to just show to
a general audience beyond just Black people, beyond just putting
things in Black publications, to a general audience who Black
people were and trying to show them in a positive light.
And there was an article that she wrote soon after
(16:11):
she had wrote that initial piece for the Oakland Tribune
that was criticizing the birth of a nation. And she
said this, news of special interest to us as a
people ought to be discussed in our own papers among ourselves.
But if a bit of news would have a tendency
to better our position in the community, then it should
not only be published in our own race papers, but
(16:34):
in the papers of the other race as well. So
that's that mentality that I was talking about, that a
lot of people at the time wouldn't have agreed with
that approach. And then there were a lot of people
who would have because it could have been seen as
kind of pat and saccharine to just say, oh, look
at us. Look at Black people. We are actually good
(16:55):
because it's more of a you're on the defense in
a way saying, I know all these people think we're horrible,
but we have to prove them wrong. But this was
her approach. And she said, was 10 toes down on it.
In 1918, she published two articles in the Journal of
Negro History. One of them was about slavery in California,
(17:17):
which you can go read online right now. You can
find it on the Internet Archive and read it. And
that document was pretty pioneering in itself to talk about
the history of slavery in California. And in 1919, this
is when her seminal work was put out. She got
(17:38):
money from the general manager of the Oakland Tribune, Frances B. Loomis,
to have her history that she had been working on
for so many years about California, and she had that published.
It was called The Negro Trailblazers of California. And at
this point, she had been working on it for almost
(17:59):
a decade. It ended up being about 300 pages long,
and this is what she put her blood, sweat, and
tears in it, According to the foreword that was written
by Charlotte A. Bass, who was the managing editor of
the California Eagle, she said that she literally sacrificed her
health and money to do the research for the book.
(18:20):
But it was a book about Black people. American pioneering
figures in California. She covered people all the way from
the 16th century to the 20th century, and it was
split into three parts, one of which was historical, one
that was biographical, and another one that was about Black
people in the present day. And it included diary entries, poetry, photos,
(18:45):
newspaper pieces, interviews with Black folks, and it also had
illustrated portraits of the people. And it was a first,
a first history of Black Americans in California. So there
were a lot of firsts in there. And reviews of
the book, though, were mixed. There were people who acknowledged
(19:07):
the importance of that work and how she really was
dedicated to her mission because she spent eight years not
even being a person. She wasn't even from California.
Speaker 3 (19:18):
But she.
Speaker 1 (19:22):
put in all those years and actually went out to
places that some other people might not have gone to
get those oral histories. So people like Charlotte Abass, the
person who did the fort, commended her commitment to the cause.
But then there was Carter G. Woodson, who acknowledged the
importance of the work, but was also critical of her
(19:46):
style and her grammar. He said in a review that
he he wrote, when one considers the numerous valuable facts
in the book, however, he must regret that the author
did not write the work under the direction of someone
well-grounded in English composition. As it is, it is so
much of a hodgepodge that one is inclined to weep
(20:06):
like the minister who felt that his congregation was consisted
of too many to be lost, but not enough to
be saved. You know, shout out to Carter G. Woodson.
You know, he's very pioneering in his own right. But
that was a bit wordy, I would say. His own
criticism was a little wordy. And I, in reading about
(20:26):
her story, there was mention of, like, Delilah being not
the best in her... her style and her grammar and
how she actually wrote and that it had to be
cleaned up by the editors. And I think those parts
are just part of a person's story. Yeah. Different people have...
(20:47):
I feel many ways about it, which is why I'm
tripping over this right now, because I almost kind of
didn't want to bring that to the episode. But it's
also like.
I didn't want to bring it because that's what the
editor is for. Like that's the process whenever anybody writes.
So to bring that up as part of her story
feels a little bit like it's denigrating of the work
that she was doing because like everybody is better because
(21:10):
of their editors. Every writer is made better because of
the work that's done and their own subsequent drafts and
the drafts of people that are helping them out. Like
that's the whole point of it. And also there's always
this expectation that's put on Black women and to be
perfect from jump. So it feels like it's coming from
that vein too. But at the same time, I do
(21:33):
feel like it can be very, it can be inspiring
to know that somebody wasn't perfect because I think there
are so many of us artists and writers and people
who are working in all different kinds of fields who
may feel a little bit put down by the fact
that they have flaws in certain ways. And so, I
(21:54):
do think it's worth bringing to the conversation in that way. But,
you know, okay, she couldn't write, but guess what she
was doing? She was getting bylines, okay? And the same
thing happens today. Whether or not a person likes someone's
writing or not, like, their writing is still published. And obviously,
(22:14):
this work was mission-driven and mission-critical for Delilah. It was
important to think she was talking about, and the... Sentiments
that she was putting forth in her pieces went into,
she brought into the work that she was doing in
her life beyond her writing. So from 1923 all the
way to 1934, she wrote the column Activities Among Negroes
(22:38):
for the Oakland Tribune. And that is continuing in this
vein of the work that she was doing for her book.
She was, and the work she was doing previously, just
kind of logging the social and local activities that Black
people were doing. She was doing this for the Oakland Tribune,
which was at the time the largest daily newspaper in
(22:59):
Northern California. The column that she did for them was
printed in the local news section, and it was about
church and social events, births and deaths in the Black community.
And sometimes she even traveled to other places in the state,
to report. And she got info from Black newspapers from
other states as well to be able to bring those
(23:19):
to her column. And she wrote that this was her
mission in that column. The writer will continue to work
for a better racial understanding by giving to the reading
public a knowledge of the efforts, ability, and progress of
the Negro peoples throughout the world. So back to this
guiding principle of hers to continue to uplift Black people
(23:42):
rather than focusing so much on the criticism of white
people and how they could do better and what they
were doing. She was just like, I'm going to hone
in on Black people, what we're doing, and I'm going
to bring that to my writing and show it in
a positive light. And this is the column that made
(24:03):
her the first Black American woman with a regular column
in a major newspaper. And there were female firsts. There
were a lot of female firsts. She was also focused
on women too. So, you know, it wasn't just limited
to women, but there were a lot of female firsts
that she wrote about in the column. Like the first
Black American teacher in Oakland Public Schools, the first Black
American woman to get a master's degree in music, and
(24:25):
the first Black woman to be admitted to the California bar,
et cetera, et cetera. So she was paid about $ 10
a week for a column. And She highlighted the positive
contributions that Black people as individuals and Black people in
institutions made to society. She was a religious woman. She
(24:46):
was a Catholic woman. So there was a lot of
Catholic focus in the work that she was doing. She
talked about Black Catholics in Milwaukee that were building a
school and Black Fisk University students who raised money to
fund a building for the school. But she herself, she
didn't make a lot of money from her work, unfortunately,
(25:07):
as we see in a lot of these stories of
female firsts. She lived in a rented room. She could
have made more money from jobs in the healthcare field, ostensibly,
but she spent most of her time writing for newspapers.
And that might go back to what Charlotte Bass was
saying about her sacrificing her health and money to be
(25:33):
able to do the reporting work that she was doing.
And she did sacrifice her health. So she had some
health troubles, heart disease, high blood pressure, hearing issues, things
of the sort that affected her. That said, she was
very active in her social life as well. She was
a part of all these women's clubs. She was a
(25:54):
part of the Alameda League of Women Voters, the League
of nations of the California Federated Women's Clubs, the NAACP.
She was the first Black member of the Oakland Council
of Church Women. And on that council, she also founded
a race relations committee. And in her writing, I think
(26:16):
of them as little pats on the back, little written
pats on the back that she would give white folks
for including Black women in these integrated activities. So she
would be like, look, they were so gracious as to
bring Black people into these activities. She would uplift integrated things.
(26:37):
But I found it pretty endearing in her story that
there were Black women in Oakland who formed a club
named after her. And it seems like they had this
pretty extended initialism or acronym, whatever you want to call it.
I don't know what it's called when you back, you
do it in the opposite direction. Yeah. But apparently they
made her name stand for something is what I'm saying.
(26:59):
And that was deeds everlasting and lending a hand. Let's
be ever alert, serving lovingly every year. So obviously acts
of service was clearly something that she was known for
doing and something other people wanted to take after her in,
which if I do say so, is a good thing
(27:20):
to model and be a role model in that way
to other people. Yeah. She organized her own integrated activities.
She helped establish a branch of the National Urban League
in Oakland. And one of the things that she protested
was how white editors would use words that were denigrating
(27:42):
to Black people like n * * * a and
pickaninny and darky. And she went on this effort to
have the editors stop using those words and also to
capitalize the word Negro.
Speaker 3 (27:53):
And.
Speaker 1 (27:55):
Even in that case, she still positioned her argument so
as to kind of avoid conflict in appearing seemingly confrontational.
It was like, Black people are for the better if
you don't use the word in this way rather than
coming at it in a more finger-pointing, confrontational kind of way,
(28:16):
which wasn't her style. And in fact, in 1929, the crisis,
which was NAACP's magazine deemed her one of the leading
integrationists in the country. She was involved in that organization
in other ways. She was a national historian for them
and wrote a preface to their history in 1933. But
(28:39):
the next year in August in California, she died. She's
buried in Oakland. And Lena M. Weisinger continued her column
until 1943 after she died. But her work lives on.
Like I say, you can read it online. And her
work is also in collections and archives. The Oakland History
(29:01):
Center has some of her work. So you can still
read it. And fortunately, the work that she did also
had an impact, I'm sure, in many ways while she
was alive and still does today. Yeah, absolutely. She did
so much work.
Speaker 3 (29:19):
And this was fun to have like a meta episode
and hear about the first and then the female first.
I wasn't expecting. You know, because here we are on
female first talking about her.
Speaker 1 (29:32):
So that's kind of cool. Yeah. If only we could
send her this episode.
Speaker 3 (29:38):
Yeah.
Speaker 2 (29:39):
Yeah.
Speaker 1 (29:40):
Exactly. Exactly.
Speaker 3 (29:43):
I know it's a great story of somebody who knew,
this is what I want, this is what I want
to do, this is who I want to uplift, and
I'm going to do it. And as you said, and
as we kind of mentioned at the top, there can
be pros and cons to stuff like that, because it
did impact her health. But she just, it feels like
she had such a drive and just like a compass.
Speaker 1 (30:05):
This was her North Star.
Speaker 3 (30:06):
And to inspire a whole group that's like named after her,
that's so fantastic.
Speaker 1 (30:15):
Yeah. Is that a new goal of yours now, Annie,
to have? Inspire a group like that?
Speaker 3 (30:22):
It's a good group.
Speaker 1 (30:23):
What would the acronym be? Yeah, what would it be? Oh,
I don't know. I'll have to think about it. That's
a new project. I do love that her name is
so long. And they came up with something. Every bit.
They made it work. Yeah.
Speaker 3 (30:39):
I would say you would be easy, but you've got
like two.
Speaker 1 (30:44):
The why is causing a problem. The why and then
a B immediately. Like, yeah.
Speaker 4 (30:50):
Yeah.
Speaker 1 (30:50):
Well, I think this should be a project. We should all...
think about this yeah you've got some work to do
or if any of the people who are listening have
any ideas for acronyms uh be kind though don't yeah
don't make it weird or mean don't make it weird
that's a great slogan just in general to go about
(31:11):
life in life oh well.
Speaker 3 (31:16):
I'm really happy that uh her work still survives and
that um people can check it out so Listeners should
go do that if you would like to. And you
should also check out what Eves is up to. So
where can the good listeners find you, Eves?
Speaker 1 (31:32):
Yes, you can find me at evesjeffcoat.com. That's spelled, oh,
for anybody who wants to create that group and acronym
for it. My name is spelled Y-V-E-S. J-E-F-F-C-O-A-T. So if
you go to evesjeffcoat.com, you can pretty much get to
everything from there. But if you want to go directly
(31:54):
to Instagram, I'm at notapologizing on there. And then I'm
also on many other episodes of Stuff Mom Never Told You,
talking about female firsts, women in history who were pioneering
in their various fields.
Speaker 3 (32:08):
Yes. So go check all of that out if you
haven't already, listeners. And thanks as always, Eves, for being
here If you would like to contact us, you can.
You can email us at hello at stuffandnevertoldyou.com. You can
find us on Blue Sky at Mom's Stuff Podcast. We're
on Instagram and TikTok at stuffandnevertoldyou. We're also on YouTube.
We have some merchandise at Content Bureau, and we have
a book you can get wherever you get your books. Thanks,
(32:29):
as always, to our super producer, Rima, and our executive producer, Maya.
Speaker 1 (32:32):
Thank you. And thanks to you for listening.
Speaker 3 (32:34):
Stuff and Never Told You is a production by Heart Radio.
For more podcasts from Heart Radio, you can check out
the Heart Radio app, Apple Podcasts, or wherever you listen
to your favorite shows.
Stuff Mom Never Told You News
Hosts And Creators
Anney Reese
Samantha McVey
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