ALDERSON, W.Va. — Perhaps few people could have predicted that one of the most electrifying figures of the Jazz Age would emerge in a quiet valley in West Virginia, a seeming world away from the glitz and glamor of Paris and New York City.
But that’s exactly what became of Ada Beatrice Queen Victoria Louise Virginia Smith, better known to the world as “Bricktop.” Her story is as riveting and transcendent as any jazz melody she lived. Her life was a crescendo of resilience, rhythm, and radiant charm.
From humble beginnings, she went on to become not only a singer and dancer but also the owner of glamorous nightclubs in Paris, Rome, and Mexico City, where she dazzled royalty, movie stars, and musical legends alike.
Today, her name is a beacon of inspiration for many, her journey reflecting the rich cultural fabric of both West Virginia and the world of jazz. Although few in her native state remember her, and no monument or museum exhibit honors her in West Virginia, her legacy remains.
Born on the banks of the beautiful Greenbrier River
Bricktop was born on August 14, 1894, in Alderson, West Virginia, into a world that was still grappling with the legacy of the American Civil War. According to most sources, she was the youngest of four children by a Black father and a mixed-race mother, who had been born into slavery two years before the Emancipation Proclamation. Her grandfather was likely her mother's Irish-American enslaver.
According to journalist Sarah Alderson, a descendant of the founder of Alderson, Bricktop was more than a jazz era performer; she was a businesswoman. "That's something I find so inspiring," Alderson said. "She was a leader in that sense, which was remarkable for the time."
By her own account, Bricktop said her red hair earned her her nickname—a moniker that would become iconic in jazz circles worldwide.
Bricktop said of herself, "On the fourteenth day of August 1894, in the little town of Alderson, West-by-God-Virginia, the doctor said, 'Another little split-tail,' and on that day Bricktop was born." Her use of a crude slang phrase for a female child unscored her authenticity and her embrace of the cultural flavor of her Black roots.
Her friend T. S. Eliot later added, regarding her birth: “…and on that day Bricktop was born. And to her thorn, she gave a rose.”
Alderson said Bricktop's father ran a barbershop in town and was highly regarded by a largely white clientele.
"As a matter of fact, her rather-long name—Ada Beatrice Queen Victoria Louise Virginia Smith—was given because so many people in town were excited to offer the family suggestions, and the Smiths didn't want to insult anyone, so they used as many as possible."
While her time in West Virginia was brief—her family moved to Chicago when she was a child—she never forgot her West Virginia roots. The sense of determination and tenacious spirit forged in those early years would carry her through the challenges of a life spent performing on the world’s most glittering stages.
From the streets of Chicago to the bright lights of Harlem
After relocating to Chicago as a teenager, Bricktop began singing and dancing in saloons and cabarets. There, her natural charisma and powerful voice caught the attention of performers and producers, and by the 1920s, she had made her way to Harlem, in New York City, where the Harlem Renaissance was in full swing.
It was in Harlem that she connected with some of the biggest names in jazz—Fats Waller, Duke Ellington, Langston Hughes, and Josephine Baker among them. Hughes once wrote fondly of Bricktop, describing her in later years as a “fixture of Paris nightlife” and one of the most vibrant performers he’d ever seen.
Ironically, Alderson said, Bricktop was the chief force in establishing fame for many of her friends. "Josephine Baker became enormously famous, but it was Bricktop who got her established," she said.
Reigning over Parisian nights
In 1924, Bricktop made the move to Paris, joining a wave of Black artists and entertainers who found greater acceptance and opportunity in Europe. She quickly became a sensation at Le Grand Duc, a Montmartre nightclub, where her unique blend of jazz, charisma, and Southern hospitality lit up the Parisian scene.
Her success soon allowed her to open her own club, "Chez Bricktop," where she became the toast of the town. The guest list reads like a who’s who of cultural and political giants. Cole Porter, Ernest Hemingway, F. Scott Fitzgerald, and even the Prince of Wales (later Edward VIII) were frequent visitors. Porter was so enchanted by her that he wrote the song “Miss Otis Regrets” for her.
Porter said that what set Bricktop apart was her ability to bridge worlds. She was as comfortable entertaining the elite as she was performing alongside fellow jazz musicians. Her clubs were known not just for music, but for the inclusive, magnetic energy she created wherever she went.
Bricktop in Rome and Mexico City
After her success in Paris, Bricktop set her sights on Rome, where she opened another “Chez Bricktop” in the 1930s. Italy, like France, was swept up in the jazz craze, and her arrival added glamour and prestige to the Eternal City’s nightlife.
Following World War II, she continued her international adventures, moving to Mexico City and once again bringing her magnetic flair to the stage. Her club there became a favorite among American expatriates, Mexican celebrities, and international jet-setters.
Despite never achieving the recording fame of some of her contemporaries, Bricktop’s legacy was built on her persona—a dazzling performer who could light up a room and make anyone feel welcome.
A legacy etched in jazz and magnetic defiance
A charming exchange once took place in Rome, where Bricktop had befriended the Duke of Windsor. He had been an admirer of hers since the early 1930s and made this quip during a conversation—underscoring how her West Virginia origins had become an integral part of her global identity.
“Brick, where were you born?” he asked, according to an article in Sentirel Blues. “West Virginia,” she said, to which the duke responded, “That's just what I told the duchess when we were in Hot Springs. I said to the duchess, ‘You know, Bricktop was born around here somewhere!’” (Hot Springs, Virginia, was then a drive of about two hours from Alderson.)
In the latter part of her life, Bricktop retired from club ownership but remained a cultural icon. She made appearances on television, recorded a few songs, and gave interviews reflecting on the golden days of jazz. In 1983, she published her memoir, Bricktop by Bricktop, offering a firsthand account of a remarkable life.
She passed away in 1984 in New York City at the age of 89. Though she had traveled the world, her story began quietly and humbly by the banks of the Greenbrier River.
Alderson said Bricktop had hoped to be buried with family in Alderson, but her plans ran awry.
She asked Jim Comstock to get her body moved back here to Alderson to be with her family. Before he died, he asked George Daugherty, known as "the Earl of Elkview," to do it. He and his daughter, I believe, were writing or had written a play about Bricktop.
"I talked to him at a Bricktop concert here in Alderson before he died, and he talked about how difficult it would be to exhume her body and move it from New York. The legality, logistics, and cost. But that was her final wish."
Today, there is a growing movement to celebrate Bricktop’s legacy in her home state. Historians and cultural advocates in West Virginia are working to highlight the state’s often-overlooked contributions to American music and Black cultural history.
In 2020, the Town of Alderson installed a historic marker. Interpretive exhibits honoring Bricktop have also been discussed for installation in the Black neighborhood of the Alderson National Historic District. A musical has also been produced.
A jazz era icon from unassuming West Virginia
Ada "Bricktop" Smith’s rise from the quiet hills of West Virginia to the chic boulevards of Paris, Rome, and Mexico City is a reminder of the transformative power of music, determination, and individuality. Her story resonates across generations—not only as a jazz-era icon but also as a symbol of West Virginia resilience and cultural richness.
For music lovers, history buffs, and those curious about the hidden gems of West Virginia heritage, Bricktop’s life offers a melody of hope, ambition, and global connection. In a time when divisions often dominate the headlines, Bricktop’s legacy reminds us of the unifying magic of a song, a dance, and a warm, welcoming club where everyone feels at home.
From the Greenbrier River to global renown, Bricktop’s rhythm still echoes—proof that even the most dazzling stars can rise from the most unlikely places.
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