The Mills Brothers (1925-1982)

August 31, 2010 
/ Contributed By: Michelle Granshaw

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Mills Brothers with Gabriel Heatter (center)

Courtesy New York Public Library (1684643)|

The Mills Brothers, a musical quartet, originally featured John Jr. (b. 1910), Herbert (b. 1912), Harry (b. 1913), and Donald Mills (b. 1915).  Born in Piqua, Ohio, the Mills Brothers lived with their father John Hutchinson Mills, a barber, and their mother, Eathel Harrington. As children, the Mills Brothers sang at local churches. For extra money, they also sang on street corners and at May’s Opera House, a local movie theater, between films. During these performances, the Mills Brothers began to develop their distinctive sound, which would later influence other doo-wop and rhythm and blues performers.  While singing four-part harmonies, John Jr. played guitar and the brothers imitated the instruments of an orchestra, such as the saxophone, trumpet, and tuba.

In 1925, WLW radio hired the brothers and the family moved to Cincinnati.  The quartet performed under different names including the Steamboat Four, the Tasty Yeast Jesters, Four Boys and a Guitar, and the Mills Brothers.  In 1929, the Mills Brothers auditioned for CBS radio in New York City. CBS signed them to a three-year contract and gave them their own network show, a first for African Americans on the radio.

In 1931, the Mills Brothers recorded their first album and their song “Tiger Rag” became a national hit. One of the first African American musical groups to receive mainstream popularity, the group’s success continued with “Goodbye Blues,” “Paradise,” and “Sweet Lucy Brown” among others. In Hollywood, the Mills Brothers made several films, including The Big Broadcast (1932) starring Bing Crosby, Twenty Million Sweethearts (1934), Broadway Gondolier (1935), Reveille with Beverly (1939), and Chatterbox (1943).

In 1936, John Jr. died of pneumonia and their father John Sr. replaced him in the quartet. In 1943, “Paper Doll” sold six million copies and spent twelve weeks at number one on the pop charts. The Mills Brothers recorded hits for Decca into the 1950s.

In 1954, John Sr. left the group. As a trio, the Mills Brothers recorded for Dot Records and toured around the country. They appeared as musical guests on The Jack Benny Show, the Perry Como Show, The Tonight Show, and Hollywood Palace. The Mills Brothers had their last hit with “Cab Driver” in 1968.

At the Dorothy Chandler Pavilion in Los Angeles, Bing Crosby hosted a celebration of the Mills Brothers’ 50-year career in 1975. The trio stopped performing together when Harry died in 1982.   Herbert died in 1989.  Piqua, Ohio dedicated a monument to the Mills Brothers on the town’s public square in 1990 and the group received a Grammy for Lifetime Achievement in 1998. Until Donald’s death in 1999, Donald and his son John continued to perform under the Mills Brothers name.

Author Profile

Michelle Granshaw is an Associate Professor and Director of Graduate Studies in the Department of Theatre Arts at the University of Pittsburgh. She is affiliate faculty with the Global Studies Center, the European Union Center of Excellence/European Studies Center, Gender, Sexuality, and Women Studies Program, and Cultural Studies. At Pitt, she teaches in the BA, MFA, and PhD programs and mentors student dramaturgs. Granshaw was honored to receive the University of Pittsburgh’s 2021 Dietrich School of Arts and Sciences Excellence in Graduate Mentoring Award.

As a cultural historian, her research focuses on disenfranchised, and migrant communities and how they shaped and were influenced by the embodied and imaginative practices within theatre and performance. Her research interests include U.S. theatre, popular entertainment, and performance; performances of race, ethnicity, gender, and class; global and diasporic performance; and historiography.

Granshaw’s articles have appeared in Theatre Survey, Nineteenth Century Theatre and Film, Popular Entertainment Studies, Journal of American Drama and Theatre, Theatre Topics, and the New England Theatre Journal. In 2014, Granshaw was awarded the American Theatre and Drama Society Vera Mowry Roberts Award for Research and Publication for her Theatre Survey (January 2014) article “The Mysterious Victory of the Newsboys: The Grand Duke Theatre’s 1874 Challenge to the Theatre Licensing Law.” Her book, Irish on the Move: Performing Mobility in American Variety Theatre (University of Iowa Press, 2019) argues that nineteenth-century American variety theatre formed a crucial battleground for anxieties about mobility, immigration, and ethnic community in the United States. It was named a finalist for the 2019 Theatre Library Association George Freedley Memorial Book Award and supported by grants and fellowships including the Hibernian Research Award from the Cushwa Center for the Study of American Catholicism at the University of Notre Dame, American Theatre and Drama Society Faculty Travel Award, and Harry Ransom Center Research Fellowship. “Inventing the Tramp: The Early Tramp Comic on the Variety Stage,” part of Irish on the Move’sfirst chapter, also won the 2018 Robert A. Schanke Theatre Research Award at the Mid-America Theatre Conference. Currently, she is working on a new monograph titled The Fight for Desegregation: Race, Freedom, and the Theatre After the Civil War. In November 2022, she received an American Society for Theatre Research Research Fellowship in support of the project.

Granshaw currently serves on the Executive Board for the American Theatre and Drama Society (term 2021-5) and co-organizes ATDS’s First Book Bootcamp and Career Conversations series.

CITE THIS ENTRY IN APA FORMAT:

Granshaw, M. (2010, August 31). The Mills Brothers (1925-1982). BlackPast.org. https://new.blackpast.org/african-american-history/mills-brothers-1925-1982/

Source of the Author's Information:

Bruce J. Evensen, “Harry and Herbert Mills,” in African American
National Biography, vol. 5
, eds. Henry Louis Gates, Jr. and Evelyn
Brooks Higginbotham (New York: Oxford University Press, 2008); William
Barlow and Cheryl Finley, From Swing to Soul: An Illustrated History of
African-American Popular Music from 1930 to 1960
(Washington, D.C.:
Elliott & Clark Pub, 1994).

Further Reading