Major N. Clark Smith in Chicago

Journal of the Illinois State Historical Society, Spring 2003 by Ohman, Marian M

The idea for a second world's fair began in the mid-1920s, when a select group of Chicago's civic leaders envisioned marking the great advances in science, engineering, and technology achieved during Chicago's previous one hundred years. Planning began in 1926, but apprehension about a financial crisis and possible depression caused interest within the business community to diminish. Charles S. Peterson, who would later serve as vice-president of the organization, revived interest a year later, and in January 1928, a new committee received a non-profit charter for "Chicago's second World's Fair Centennial Celebration" from the Illinois Secretary of State. In 1929 the name was changed to "A Century of Progress."77 Rufus C. Dawes (1867-1940), a utilities magnate, served as president.

Commentary appearing in Official Pictures of A Century of Progress draws a comparison with the World's Columbian Exposition:

The "World's Fair" of 1893 appealed directly to sentiment. A Century of Progress appeals to the imagination. It is the difference between a story and a prophecy. . . . A Century of Progress was planned, by architecture and arrangement as well as by exhibits, to throw the minds and the imaginations of men forward, into the future. It was not to look back, but onward. It was to be a projection, not a recollection.78

Chicago Defender publisher, Robert S. Abbott, was asked to join the founding group and although he declined an active role, he did pay the membership fee of one thousand dollars.79 Initially the planning committee included Jesse Binga, a prominent banker and successful realtor, who was assigned a minor position. After his bank failed in July 1930, no black staff or committee members were represented among any of the fair's eight divisions. As planning progressed, fair administrators encouraged other ethnic groups to participate, but not blacks, who expressed resentment and concern about their exclusion and the denial of their active participation in the official program.80 The Fair's president assured them that discrimination would not be tolerated; the Chicago Defender accepted this affirmation and week after week promoted the fair.

In December 1930, Lillian LeMon, presiding officer of the National Association of Negro Musicians (NANM), began assigning leaders to prepare music entertainment for presentation at the fair. She appointed Smith organizer and director of an anticipated ninety-piece National Symphony Band.81 She identified Dr. Robert Nathaniel Dett (1882-1943) organizer of a national chorus; Frederick J. Work, leader of the Memorial Jubilee chorus; and Dr. Harrison Ferrell, director of the National Orchestra.82 LeMon emphasized the importance of selecting music that had been composed or arranged by African Americans. Among her specific recommendations was Smith's five-part Choral Symphony, sometimes referred to as his "African Symphony."83

Smith contacted Lyon & Healy and informed them of his appointment. The firm expressed their pleasure at having it come to "one of our own boys," and extended their offer of help: "If there is anything that we can do, please call on us. Mr. Ernest Hartman of our band department will serve as your manager with our office force assisting."84