An Inspired Organizing Board of Directors This group of inspired men and women seemed to have taken their task with what must have been a divine mission. They met for close to a year and put together the plans for a celebration for Memphis, the likes of which the eyes had never seen. They worked together in harmony with one purpose, to make Negros in Memphis and the Mid-south proud; proud of themselves and proud when witnessing the unfolding of an event that should never be forgotten. I was not there, but I know from the magnitude of the 1936 celebration, called “Beale Street Cotton Makers’ Fiesta,” available financing was slim at best. Therefore, these men and women, for the most part, made personal financial contributions in order to accomplish their goal. Each, according to their means. The organization firs established its office from which to conduct its business in an adjoining office next to Dr. Venson’s dental office on the second floor of 179 Beale Street. Seven members of the Board of Director for the Memphis Cotton Makers’ Jubilee were members of St. John Baptist Church where Dr. Venson was a member and Chairman of the Trustee Board. These members included Dr. R. Q. Venson, Mrs. Ethyl H. Venson, Mr. Clifton Satterfield, Professor Robert Morris, Mr. Joseph Cotton, Mrs. Sara Gray, and Professor Nathaniel “Nat” D. Williams. In later years, there were other members of St. John Baptist Church that served in leadership roles for the Memphis Cotton Makers’ Jubilee. Some of whom included Mrs. Susie P. Hightower, Mr. Rufus Thomas (past King, 1953), Mr. Frank Gray, Mrs. Lillian Dunlap, Professor Edward Gray (past King, 1963), Mr. Thomas Lumpkins (past King, 1949), Mrs. Beulah Mackey-Williams, Mrs. Katie Johnson, Ms. Virginia Gray-Westbrook (first Spirit of Cotton, 1941), and yours truly, Mr. Clyde R. Venson, Dr. Venson’s nephew and past King, 1966. A Seed is Planted in Dr. Venson’s Mind The first celebration, themed “The Negro Sings,” was held May 14-18, 1936. It was a big success. It was named “Beale Street Cotton Makers’ Fiesta.” The first Royal King and Queen couple were King Eddie F. Hayes Sr., and Queen Ethyl H. Venson. King Eddie from the House of Hayes, was a leading Memphis businessman and an undertaker from the North Memphis area. He was also the Vice Mayor of Beale Street. Queen Ethyl from the house of Venson was the newly-wed wife of Dr. R. Q. Venson, founder of the celebration and Chairman of the Board of Directors. Queen Ethyl was a social and civic worker in the Memphis community. King Eddie was dressed in purple shorts and wartime era long brown lisle hose stocking, a white collar and French cuffs shirt, purple cape, and goldtinted shoes. His crown, a deep purple hue sat inside a gold headband. He finished the look off by carrying a gold scepter, representing his symbol of authority. Queen Ethyl wore an elegant white cotton gown with large ruffles starting just above the knees and ending in a foot train. Her gold crown was adorned with stars. When asked why she wanted to be the first queen, she replied, “ When I leaned that Dr. Venson was paying for the queen’s gown, I knew who the queen would be!” The first celebration took Memphis by storm. For the first time since gaining notoriety, none other than William Christopher “W. C.” Handy, the Father of the Blues himself, was summoned and returned to Memphis from New York for the celebration. Mr. Handy served as the Grand Marshall of the Grand Fiesta Parade. In honor of his success and in recognition of the Fiesta, Memphis bands played three of Handy’s greatest hits, “Memphis Blues,” “Beale Street Blues,” and “St. Louis Blues,” for the entire week. Handy, who did not realize it at the time, had just begun an annual tradition of returning to Memphis in May for this annual event where he rode in the first automobile in the parade, doffing his hat from left and right as the vehicle slowly proceeded through the entire parade route. Despite the limited amount of publicity and funds available to promote the event, the celebration attracted nationwide attention because of its color and promise. 35
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