Black History

Granville Woods: The Black Edison

Granville T. Woods, a name that reverberates through the annals of technological innovation, was a trailblazing inventor whose contributions transformed the world. Born before the U.S. Civil War, Woods overcame significant obstacles to become one of the most prolific inventors of his time.

Published

3 years ago

July 11, 2023

Oakland Post

Granville Woods. Public domain photo

By Tamara Shiloh

He was born on April 23, 1856, in Columbus, Ohio. Coming of age during the era of racial segregation, Woods faced immense challenges in pursuing his passion for engineering. Denied formal education, he taught himself through relentless self-study and practical experience. Despite racial discrimination, Woods went on to establish a successful career as an inventor, leaving an indelible mark on American technological advancements.

He left school at the age of 10 due to his parents’ poverty and apprenticed in a machine shop learning the trades of a machinist and blacksmith. At 18, he worked as a fireman on a railroad in Missouri, moving to Springfield, Illinois, where he worked at a mill. From 1876-78, some sources say he attended college and studied mechanical and electrical engineering.

He worked on a steamship and rose to the position of chief engineer before returning to Ohio where he became an engineer with the Dayton and Southwestern Railroad. He established a business as an electrical engineer and inventor in 1880 in Cincinnati, reorganized it as the Woods Electric Co. and 12 years later, moved research operations to New York City where he worked with his brother, Lyates, who was also an inventor.

Granville Woods’ most significant contributions were in the field of railway technology. He invented numerous devices that revolutionized the safety and efficiency of railroad systems. One of his notable inventions was the “Synchronous Multiplex Railway Telegraph,” which allowed communication between trains, reducing the risk of accidents.

Additionally, Woods developed the “Induction Telegraph System,” enabling moving trains to communicate with station operators. His inventions played a pivotal role in enhancing the safety, reliability, and coordination of train operations, earning him the nickname “The Black Edison.”

Beyond the railroad industry, Woods made groundbreaking advancements in electrical engineering and communication. He invented the “Telegraphony,” a device that combined the telegraph and telephone, allowing voice communication over long distances.

Woods also developed the “Multiplex Railway Telegraph,” which allowed simultaneous communication on multiple telegraph lines. His inventions greatly influenced the development of telegraph and telephone technology, leading to improved communication systems.

One invention that is still used today is the safety dimmer, allowing theaters to decrease their electricity use by 10%.

Before he died of a cerebral hemorrhage in Harlem on Jan. 30, 1910, he had sold a number of his devices to Westinghouse, General Electric and American Engineering.

Woods held over 60 patents for his inventions, leaving an enduring legacy in the field of engineering. Woods’ contributions were posthumously recognized, and in 2006, he was inducted into the National Inventors Hall of Fame.

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

Published

9 hours ago

June 9, 2026

Oakland Post

Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith. Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold. No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.