Categories
Music Music Features

No Tears Project Lights Up a Renovated Cossitt Library

When pianist Christopher Parker and singer Kelley Hurt composed the No Tears Suite to commemorate the Little Rock Nine, the Black students who defied Arkansas segregationists and walked into the once all-white Little Rock Central High School in 1957, they never suspected the piece would take on a life of its own. That was over six years ago, when the couple were commissioned by the Oxford American to create the piece, and it made perfect sense to premiere it at the Central High School National Historic Site on the 60th Anniversary of the Little Rock Nine’s actions. Beyond that, however, there were no plans.

“It’s completely amazing,” says Parker of the trajectory of the suite he and his wife composed. “It just keeps snowballing, and now it’s unfolding that this thing was destined to be more than just one performance in Little Rock.” Ultimately, an album of the piece was released on Mahakala Music, but it wasn’t long before it grew into a movable musical feast which, ironically, shrank the original suite’s length to make room for local voices wherever the show took root.

Given the centrality of racial justice issues to today’s America, one might have predicted a second life for the piece, which blends orchestral jazz not unlike that of Gil Evans with Hurt’s invocations of the imagery and names from that day, inspired by Melba Pattillo Beals’ memoir Warriors Don’t Cry. Before long, Parker and Hurt sensed that they had struck a nerve. Their creation was resonating with cities across the region in ways they couldn’t have predicted. In 2019, a new arrangement by bassist Rufus Reid was presented in Little Rock, followed by a live-streamed performance in New Orleans the next year, then shows in Fayetteville, Arkansas, and Tulsa, Oklahoma, the year after that. Most recently, the project was presented in St. Louis last month, soon to be followed by a series of events in Memphis from June 10th through 14th.

At the heart of the Memphis shows will be a June 10th performance of what has grown far beyond a suite, now known as the No Tears Project, at the newly reopened Cossitt Library on Front Street. It will be an apt use of the newly renovated library space, which has been carefully crafted under the guidance of programmer Emily Marks and other team members into a multimillion-dollar arts hub featuring video labs, recording studios, and performance spaces. Indeed, it’s entirely appropriate that this space, shaped by and for the Memphis community, should play host to a project that’s become a community endeavor in its own right.

As Parker explains, it all began with the Oklahoma show. “We collaborated with these people in Tulsa, and that was really successful,” he says. “We were like, ‘What do y’all do?’ And they were more like the folk rock/singer-songwriter type of ilk. They weren’t really writing civil rights songs, but more about the moral life, folksy and spiritual. So it tied things together in kind of a cool way. People in the audience knew those people and we found some commonality.”

The St. Louis show ramped up the local involvement considerably, with the involvement of a bona fide jazz great, saxophonist Oliver Lake, founding member of the World Saxophone Quartet. “Oliver’s poetry was hitting it on the head,” says Parker, “with five poems about Trayvon Martin, Eric Garner, Ahmaud Arbery, George Floyd, and Amadou Diallo. Not only was it very piercing, but it had this dark humor.”

The original suite was shortened to make time for those poems, and others by Treasure Shields Redmond, not to mention the dancing of Ashley Tate. Now all those elements will be presented in the Memphis show, plus trumpeter Marc Franklin’s new arrangement of Memphis pianist Donald Brown’s song “A Poem for Martin.” And Parker’s especially excited about the native Memphians who’ll be in the band. “[Saxophonist] Bobby LaVell’s daddy was Honeymoon Garner! And he lived with Fred Ford, who was his saxophone teacher. Then there’s Rodney Jordan, the best bass player I ever met.” Multiple Grammy-winning drummer Brian Blade will also participate.

Parker pauses a minute to let those names sink in, happy to minimize his own role in what was originally his baby. “I mean, with players like that, all I’ve got to do is just cut them loose. I don’t have to do a thing.”

Visit oxfordamerican.org/ntp-memphis for more information.

UPDATE: Due to technical issues, the venues for this series of performances have changed:

Education Concert
NEW TIME: Saturday, June 10, 2023 – Noon to 1 p.m.
NEW LOCATION: Benjamin L. Hooks Central Library
Free to the public; seating is limited and reservations are required via Eventbrite.com

A 60-minute education concert for youth and families featuring No Tears Project ensemble members. The artists will play short selections of music interspersed with dialogue that highlights key moments and people from Memphis, Little Rock, and Jackson involved with the civil rights movement.

Community Concert
NEW TIME: Sunday, June 11 – 2 p.m.
NEW LOCATION: The Green Room at Crosstown Arts 
Free to the public; seating is limited and reservations are required via Eventbrite

A 90-minute concert from the No Tears Project ensemble led by Christopher Parker (piano) and Kelley Hurt (voice). The band will perform the world premiere of new works written by and in collaboration with Memphis artists, including saxophonist Robert “Bobby LaVell” Garner. A new arrangement of Memphis pianist Donald Brown’s song “Poem for Martin,” written by Marc Franklin, as well as selections previously written by Oliver Lake, Parker, and Hurt, in honor of the Little Rock Nine will also be performed with poetry accompaniment by Treasure Shields Redmond, and dance by Ashley Tate.

Community Concert
NEW TIME: Sunday, June 11 – 6:30 p.m.
NEW LOCATION: The Green Room at Crosstown Arts 
Free to the public; seating is limited and reservations are required via Eventbrite

A reprise performance of the same 90-minute program, designed to serve additional Memphis community members.

Recognition Before Reconciliation
Tuesday, June 13, 2023 – 6:00 p.m.
NEW LOCATION: Benjamin L. Hooks Central Library
Free to the public; seating is limited – register via Eventbrite

A panel discussion featuring civil rights heroes and activists including Memphis 13 member and daughter of Rev. Samuel Billy Kyles Dwania Kyles; Little Rock Nine member Elizabeth Eckford; and activist Reena Evers-Everette, daughter of Medgar and Myrlie Evers. Dr. Russell Wigginton, President of the National Civil Rights Museum in Memphis will moderate the discussion. Superintendent Robin White of Little Rock Central High School National Historic Site will provide opening remarks and context for the discussion.

Story Time with Elizabeth Eckford
Wednesday, June 14, 2023 – 10:30 a.m.
NEW LOCATION: Benjamin L. Hooks Central Library
Free to the public; seating available on a first come first served basis.

Capping the residency in a 60-minute program for youth and families, Little Rock Nine member and heroine Elizabeth Eckford will share personal experiences and read from her book, The Worst First Day: Bullied While Desegregating Central High. Eckford, who as a 15-year-old in 1957 faced an incensed mob of segregationists and soldiers alone, will inspire the next generation with her words and story.

Categories
Book Features Books

Jerry Mitchell’s Race Against Time

James Patterson

Jerry Mitchell


This Wednesday, February 12th, MacArthur Foundation “Genius Grant” recipient, investigative journalist, and author Jerry Mitchell will discuss and sign his recently released book Race Against Time: A Reporter Reopens the Unsolved Murder Cases of the Civil Rights Era (Simon & Schuster) at Novel bookstore.

The book was more than 30 years in the making. Mitchell’s interest in — and outrage at — a series of murders of civil rights activists by members of the Ku Klux Klan were stoked when he was sent on assignment to write up the 1988 film, Alan Parker’s Mississippi Burning. So, in more ways than one, Mitchell’s efforts to bring the Klan killers to justice was a race against time.

“It was a race against time, in time being of the essence,” he says. “In case after case, there are all these deadlines.” So this book, a work of investigative reporting meets memoir that reads like a page-turner of a legal thriller, is also a race toward justice.

“The purpose for which, unfortunately, these people were killed is the color of their skin,” Mitchell says. “Many people had their lives stolen.” Race Against Time chronicles Mitchell’s work to help make sure the killers paid for their crimes.

“You’re always going to have people who question your motives in any level of reporting,” Mitchell says. “I even had people who would say, ‘Why don’t you leave these old men alone,’ and I would try to explain to them, ‘Look, these were young people when the crimes were committed. These were young killers who just happened to get old, and justice had never come.’”

So this work was not without its hurdles. “This wasn’t politically popular. It wasn’t like you’d take on a case and the voters would overwhelmingly throng to the polls to support you on this,” Mitchell adds. “I even had an editor who didn’t want me to take on these stories.”

But take on the stories Mitchell did, and his efforts were, by and large, successful. “All these guys I wrote about died in prison,” the reporter says evenly. Still, Mitchell doesn’t dwell on the perpetrators of the heinous crimes — rather he talks more of the bravery and resilience of their victims’ families and of the authorities who worked to bring the murderers to justice. “To me, it’s the story of these courageous families who never gave up.” Mitchell wanted to make sure that the victims’ families received “some semblance of justice before it was too late.”

Even years after the murders took place, though, reporting on the crimes was dangerous, as was advocating for justice. “The Klan was a very powerful organization,” Mitchell says. And about the murderers themselves, he adds, “They may not be as strong as they were before, but they could still pull a trigger. Just because they’re old doesn’t mean they can’t shoot.”

In the end, though, and in this instance at least, justice won out. Of course, Mitchell, whose nonprofit, the Mississippi Center for Investigative Reporting has been looking into unjust outcomes in Delta prisons, is not one to throw himself a victory party, reminding the reader that there is no shortage of social ills to combat. “Justice is about more than what happens in the courtroom,” Mitchell says. “It’s about how we treat each other.”

Jerry Mitchell discusses and signs copies of his new book, Race Against Time: A Reporter Reopens the Unsolved Murder Cases of the Civil Rights Era, at Novel bookstore, Wednesday, February 12th, at 6 p.m.

Categories
Music Music Blog

Music On Film: Two Inspiring Documentaries To Curl Up With This Week

If “a picture’s worth a thousand words,” as they say, then the value of 24 frames per second is incalculable. Two albums recently featured in the pages of the Memphis Flyer also feature accompanying films about their respective artists, and fans of either album will want to seek these out to enhance their appreciation of the music.

First up, we have the little gem tucked in the sleeve of Fat Possum’s recent all-star tribute to Mose Allison, If You’re Going to the City. The two LP set itself is a gem, but it wasn’t until I’d listened to it a few times that I stumbled across the accompanying DVD, Mose Allison: Ever Since I Stole the Blues.

This is a BBC documentary dating from 2005, directed by Paul Bernays, with production values in keeping with previous documentaries Bernays has made, such as 1959 : The Year That Changed Jazz. For this, he was able to journey with Allison to Tippo, Mississippi, where Allison was born, to speak with members of his family and gather images of the local family legacy, including the gas station once run by Allison’s father.

“He’s the only man that ever got rich in Tippo. The only man,” says Victor Buchanan, speaking of Mose’s father, his former employer, who owned more than one business and much real estate in the area.

The film, having been made over a decade before Allison’s death, is perhaps the last great record of the man revisiting his past. “Growing up in Tippo, Mississippi, I probably heard more varieties of music than any other place I could have grown up…the service station was where one of the jukeboxes was,” Allison comments early in the film, as we see him strolling down back roads in his unassuming leisure wear. Now that he is gone, such moments are laden with significance.

This being a U.K. production, there is a lot of commentary by British artists, which is quite in keeping with Allison’s influence on the history of rock. Pete Townshend recalls, “When I first heard Mose Allison, I thought he was black, because he sounded so authentically from the Delta.” The Who’s version of “Young Man Blues,” of course, helped bring Allison to a new, global audience.

Music On Film: Two Inspiring Documentaries To Curl Up With This Week

“He’s the premier lyricist in jazz, you might say, because he’s put all this wit and commentary into it,” says Elvis Costello, whose collaboration with Amy Allison, Mose’s daughter, is one of the highlights of the tribute album.

But there is more than reminiscing in this film. The bulk of it captures nearly complete performances of Allison in the kinds of clubs where he spent most of his life. If tribute albums can at times lose sight of the ostensible honoree in the white hot glare of celebrity guest artists, this one at least offers the corrective: a world-class time capsule from a time when Mose walked among us.

Speaking of world class, Kirk Whalum’s new album, Humanité, is also being co-released with a documentary, sold or streamed separately from the audio release. Titled Humanité: The Beloved Community, the film is clearly striving to be more than a promotional clip for the new album, a visionary labor of love by Whalum, who consciously created the album as a gathering of players from around the world.

From the start, Whalum’s friend, film director and producer Jim Hanon, was involved. This film was clearly a labor of love for him as well, as he functions as co-producer, director of photography, editor and director all at once. And to be sure, the photography here is delectable, a perfect compliment to the extremely polished, cosmopolitan jazz-pop of the music.

The first thing one notices about the music, in the context of the film, is that it’s not particularly Southern. It’s disorienting because the opening imagery is primarily of Dr. Martin Luther King, Jr., with Whalum’s voice-over recalling his youth in Memphis churches. The soundtrack, unlike so many documentaries with similar images and narration, is not drawn from iconic African American spirituals, but is rather a largely instrumental track echoing the easy sing-song soulfulness of Bob Marley, with all the edges smoothed out. Ultimately, a chorus joins in with the words “We shall overcome,” but it’s not the same old protest song we know.

As the film unfolds, it becomes apparent that this disorientation is partly the point. As Whalum journeys through the world, cameraman in tow, he’s trying to show common threads in the struggles of the poorest people in the world, including Memphis. And the touches of world music that inflect all the album’s tracks become, in essence, that common thread. Ultimately, the team offer a creative approach to the film’s stated goal of channeling “the ethos of civil rights in a raw and compassionate tale of harmony in a divisive world.”

As it turns out, Whalum’s recollections of growing up in churches where his father preached, including one that was little more than a shack, are just the beginning. He’s not the only musician here to evoke the development of a life dedicated to music and faith: in every locale across the globe where he records, the struggles and triumphs of the musicians he works with are highlighted. And they are beautifully illustrated by Hanon’s roving eye.

Music On Film: Two Inspiring Documentaries To Curl Up With This Week (2)

If this is the season when the world’s demands are put on hold, a time when we can strive to see the bigger picture and the common threads, what could be better than augmenting one’s love of music with these two in-depth glimpses of the stories behind the the art? From Mose Allison’s combination of homespun wisdom and rapier wit, to the more open-ended search for community that leads Kirk Whalum across the world, these films will help you start the new year in a more philosophical, thoughtful place. 

Categories
News News Blog

Group Calls Reasons for Removing Civil Rights Mural “Shallow,” Mural to Remain

A local group calls the city’s reasons for planning to scrub a civil rights mural “shallow” and “mystifying.”

The Downtown mural, painted on a garage at the corner of Main and Dr. Martin Luther King Jr. Avenue, depicts a civil rights timeline with historical figures like Ida B. Wells.

After the city received complaints over the historical accuracy of the mural, as well as its inclusion of the phrase “Black lives matter,” city officials made tentative plans to scrub the mural.

But, groups like the Midtown Action Coalition expressed concern over the justification for removing the mural.

In a letter to Paul Young, director of the city’s Housing and Community Development division, Gordon Alexander, organizer of the coalition, said the reasons given are “downright mystifying.”

The full letter reads, in part:

“This mural is quite popular and the reasons given for its possible removal seem shallow, and downright mystifying. You state that some persons have expressed concern about the ‘facial expressions’? What does that mean exactly? In response to the concerns for its ‘historical accuracy,’ let’s not forget this is a mural on a garage, not a statue in a civic plaza or a bronze reproduction of a famous event in Memphis history. We believe the pressure is coming from those citizens who took offense at the ‘Black Lives Matter’ inscription. What is their viewpoint? That black lives don’t matter?

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“We may have misinterpreted your comments and if so, you have the opportunity to set the record straight. This has all the signs of a miscarriage of justice based on a few, dare I say it, white people who live outside the Parkways.”

After more concerns like this emerged, Ursula Madden, the city’s chief communications officer said Monday that the mayor decided against scrubbing the artwork: “After this issue was brought to Mayor Strickland’s attention, he quickly decided that we are not removing the mural.“

Commissioned to a part of the Memphis Heritage Trail, the mural was created by Michael Roy and Derrick Dent in 2016.

Categories
Intermission Impossible Theater

“All the Way” Comes Up Short at Playhouse on the Square

All the Way isn’t nearly as straightforward as it seems. It’s not a piece of naturalistic theater you can just stage. It’s not a musical either, but with grand themes, leitmotifs  of venality and an orchestra-sized cast, this overstuffed sausage-grinder about Lyndon Johnson’s first 11-months in the White House needs to be conducted like a tense modern symphony full of explosive tragedy and punctuated by brassy squawks, and soaring metaphoric strings. If careful attention isn’t paid to the show’s desperate melodies, and ever-shifting time signatures All the Way turns bloodless, like Disney World’s Hall of Presidents without the Morgan Freeman gravitas. Playhouse on the Square has transformed the show into a fashion parade of gorgeous vintage suits, and unconvincing wigs on a pink (marbled?) set that looks for all the world like it was wrapped in prosciutto. It’s a remarkable showcase of extraordinary talent grinding its wheels in a low-stakes historical pageant. When actors as sharp as Delvyn Brown and George Dudley can’t make historically large characters like Martin Luther King and Lyndon Johnson interesting, there’s something powerfully wrong with the mix.

I’m a fan of director Stephen Hancock, but have noted occasions where concept muddled clarity. The opposite is true this time around. Kennedy’s assassination can’t be treated like melancholy Camelot nostalgia. All the Way may open with a funeral march, but it needs to be bathed in horror and bubbling over with chaos that threatens to grow worse as the play progresses. The Gulf of Tonkin incident isn’t an aside, it’s an explosion. Every provision cut from the 1964 Civil Rights bill in order to get some version of the legislation passed before the election has to bleed real blood and stink of the strangest fruit.

George Dudley is a pleasure to watch. He’s whip-smart, and even when he’s badly used the man’s a damn powerhouse. But everything is different this time around. He’s not surefooted like he usually is. Like so many of the actors in All the Way, Dudley seems unfocused, and not entirely in control of his lines. Still, you can’t act height and vertical advantages aside, he’s still the only actor in Memphis I can imagine capturing Johnson’s crude and conflicted brand of Texas idealism. And when he’s on, he’s on fire.

‘All the Way’ Comes Up Short at Playhouse on the Square

For all of its shortcomings, All the Way is something of a landmark. I can’t recall when I’ve seen such a gifted assemblage of swinging D plopped down on a single stage. With a handful of exceptions, every noteworthy Memphis actor has been called on to do his patriotic duty, and most have answered with gusto. Curtis C. Jackson and John Maness stand out as NAACP leader Roy Wilkins and FBI chief J. Edgar Hoover. Greg Boller relishes his time inside the skin of Defense Secretary Robert McNamara. Michael Detroit makes a sympathetic, if never entirely convincing, Hubert Humphrey and John Hemphill, Sam Weakly, and John Moore all do some fine character work. The women of the 60’are finely represented by Claire Kolheim, Irene Crist and Kim Sanders, but they are outnumbered, outgunned, out shouted, and pushed to the edge of the picture. It’s an historically appropriate dynamic, of course, but it could stand crisper translation to the stage.

Regretfully, Robert Schenkkan’s script requires more than quality acting.

All the Way is a fourth wall breaker. At the end of the show Dudley asks the audience if anybody was made to feel uncomfortable about by the things they witnessed as ideation becomes legislation, slaw, then law. He asks if we wanted to hide our faces or look away. That moment should be the key to reverse engineering an American “teaching play” that lists ever so slightly toward German Lehrstücke. It should make us want to look away. Not because of the sad black and white photographs projected on enormous screens behind the actors, but because when politicians “make the sausage” people are the meat in the grinder.

And it’s always the same people in the grinder.

There’s a frequently repeated line in All the Way about how Johnson is the most, “sympathetic president since Lincoln [to African Americans].” It’s ordinary sloganeering, of course, and an uncomfortable truth when considered from even a relatively short distance. It’s also a helpful line for considering how easily mimesis fails this kind of play where dynamic interpretation makes the difference between horrorshow and hagiography.

Face full of Johnson. Michael Detroit and George Dudley in All the Way at Playhouse on the Square.

All the Way isn’t bad, it’s worse than that. It’s boring. It’s a play that should make us see that soldiers are blown up in boardrooms not on battlefields, and how even progressive politics can play out like a slow motion lynching. It should make us flinch and look away often. But it never does.

It’s an election year, of course — in case anybody out there in Flyer-land hasn’t noticed. I suspect there’s a certain crowd caught up in the pageantry who are in the perfect mood for a three-hour reminder of the “good old” “bad old” days when even an oil-funded politician as crude and bullying as Donald Trump could dream of a “more perfect union” and get elected. Once, anyway.

Even political junkies and policy wonks may wish to spend cocktail hour chugging coffee. 

Categories
Opinion Viewpoint

You Talkin’ To Me?

I wouldn’t suppose anyone likes to be called a coward, even if you are one. Yet Attorney General Eric Holder said we were a “nation of cowards” when it comes to discussing matters of race. I understand Holder’s purpose was to chastise and challenge people of all races about our national unwillingness to have a dialogue about what is really going on in our society. But, only a month after we elected our first African-American president with an unprecedented outpouring of good will, was “cowards” the wisest terminology to describe American society? Where I come from, those are fighting words.

I recall another first: Andrew Young, who was ambassador to the United Nations under Jimmy Carter, in debate with the British delegation, said the English were intimately familiar with racism since “they pretty much invented it.” What he said may have been factually correct, but his job was to be a diplomat.

Perhaps I’ve lived in the South so long that I’ve developed a touch of redneck, but Holder’s comments unexpectedly made my blood rise. It was akin to being a kid on the playground pushed to the ground by the class bully. You can either sit there and put your cowardice on display or charge the bully and fight while simultaneously praying for someone to break it up. I’m a pacifist who understands the intention, but Holder’s unfortunate choice of words served to inflame many of the people who were already on his side and feeling uplifted over our historical national achievement. The unfortunate part of this episode is that Holder is right about the need for racial dialogue, but his message was lost in the rancor of his clumsy provocation.

Holder succeeded in pretty much offending everyone, including, I imagine, President Obama. The president has so far been very careful to be nonconfrontational and inclusive in his speeches. I wonder if Holder ran that little doozy past him first? In a joint appearance, shortly after the inauguration, when Vice President Joe Biden joked about Chief Justice John “No Notes” Roberts mangling the oath of office, Obama grabbed his elbow and gave him a glance like a parent would a feckless child. I hardly believe the president would approve of his new attorney general, in one of his first public speeches, making well-intentioned but divisive remarks. A racial discussion would be a good thing, but right now, it’s a few notches down in urgency, behind the economy and an impending depression. First, clean up the Justice Department, then we’ll talk.

In fact, had Holder taken the long view, he might have seen what I have seen in recent years. I am among the remaining members of a generation of Memphians who never sat in a classroom with a black student until they reached college. Attempting interracial friendships took some outreach and understanding by all parties, but I was never afraid to discuss race with anyone.

Back in the day, I noticed a curious thing about both whites and blacks from a segregated society attempting to talk to one another for the first time. Whites would adapt some imagined hip-patois or jive lingo, while blacks would often become more pronounced in speaking with white people than they were with each another.

An entire generation of people are still awkward around each other simply because of their forced separation in childhood. Such is not the case with young people like my stepson, Cameron, who knows not the curse of segregation. I marvel at the seamlessness of his friendships with people of all races. Cameron doesn’t have “black” friends or “Asian” friends; they are all just his friends. Holder’s “nation of cowards” phrase harkens back to a generation when races were separated by law. As in 1968, we are still somewhat a nation divided by age, econonic status, religion, and, yes, race. But the warriors of the civil rights movement — and their opponents — are rapidly aging, soon to be replaced by a post-racial society.

Since Holder was being blunt to make a point, let me be blunt as well.

General Holder, before you come out swinging and calling people of goodwill “cowards,” you may wish to first display some courage yourself. The conflagration at Waco and the storm-trooper mission to retrieve Elian Gonzalez are not sterling references on your resume. I already know you will be a wiser attorney general than John Ashcroft or Alberto Gonzales, but maybe you should hold off with the blanket criticisms until you have at least passed the Janet Reno threshold.

Randy Haspel writes the blog “Born Again Hippies,” where a version of this first appeared.

Categories
Politics Politics Feature

POLITICS: Looking Back

  • Remembering
    Ernest Withers

    One of the great serendipities I’ve experienced as a
    journalist was the decision by former Memphis Magazine
    editor Tim Sampson back in 1993, on the 25th anniversary of
    the death in Memphis of Dr. Martin Luther King, to use as the centerpiece
    of an anniversary issue an archival piece of mine, along with pictures by the
    great photographer Ernest Withers.

    Uncannily often, Withers’ photographs directly illustrated
    specific scenes of my narrative, which had been written originally on the day
    after the assassination and concerned the events of that traumatic day. It was a
    little like being partnered with Michelangelo, and I was more than grateful.

    The publication of that issue led to an invitation from
    Beale Street impresario John Elkington for Withers and me to collaborate
    on a book having to do with the history of Beale Street, and the two of us
    subsequently spent a good deal of time going through the treasure trove that was
    Withers’ photographic inventory.

    For various reasons, most of them having to do with
    funding, the book as envisioned never came to pass (though years later Elkington
    published a similar volume), but the experience led to an enduring friendship.

    One day, when I was having car trouble, Ernest gave me a
    ride home, from downtown to Parkway Village, the still predominantly white area
    where I was living at the time, just beginning a demographic changeover. At the
    time it appeared as though it might become a success of bi-racial living, and we
    talked for some time about that prospect.

    That very evening, Ernest was a panelist on the old WKNO
    show, Informed Sources, and, instead of focusing on the subject at hand,
    whatever it was, chose to discourse at length on the sociology of Parkway
    Village. Watching at home, I was delighted – though the host and other
    panelists, intent on discussing another subject, one of those pro-forma
    public-affairs things, may not have been.

    They should have been. This was the man, remember, who
    documented the glory and the grief of our city and our land as both passed from
    one age into another, which was required to be its diametrical opposite, no
    less. Ernest saw what was happening in Parkway Village as a possible trope for
    that, and whatever he had to say about it needed to be listened to.

    Sadly, of course, the neighborhood in question was not able
    to maintain the blissfully integrated status that Ernest Withers, an eternally
    hopeful one despite his ever-realistic eye, imagined for it.

    As various eulogists have noted, last week and this,
    Withers not only chronicled the civil rights era but the local African-American
    sportscape and the teeming music scene emanating from, an influenced by black
    Memphians.

    He was also, as we noted editorially last week, a family
    man, and it had to be enormously difficult for him that, in the course of a
    single calendar year while he was in his 70s (he was 85 at the time of his
    death), he buried three of his own children.

    Among my souvenirs is a photograph I arranged to have taken
    of Ernest Withers with my youngest son Justin and my daughter-in-law
    Ellen
    , both residents of Atlanta, on an occasion when they were visiting
    Memphis a few years back. Happy as they were with the memento, the younger
    Bakers expressed something of a reservation.

    What they’d really wanted, explained Ellen, a museum
    curator who was even then, in fact, planning for a forthcoming Withers exhibit
    in Atlanta, was a picture of the two of them taken by the master.

    Silly of me not to have realized that. To be in a picture
    by Ernest Withers was to become part of history – a favor he bestowed on legions
    of struggling ordinary folk as well on the high and mighty of our time.

  • Remembering Kenneth Whalum Sr.

    There was a time, before Mayor Willie Herenton became the
    acknowledged alternative within the black community to the Ford family’s
    dominance, that councilman Kenneth Whalum was a recognized third force to reckon
    with.

    jb

    The Rudy Williams Band led Ernest Withers’ funeral procession down Beale on Saturday.

    Rev. Whalum was both the influential pastor of Olivet
    Baptist Church in the sprawling mid-city community of Orange Mound and the
    former personnel director of the U.S. Postal Service, locally. In effect, he had a foot planted
    firmly in each of the two spheres that make up the Memphis political community.

    That fact made him a natural for the city council during
    the period of the late ’80s and early ’90s when the era of white dominance was
    passing and that of African-American control was dawning.

    During the 1991 council election, Whalum, along with Myron
    Lowery, achieved milestones as important in their way as was Herenton’s mayoral
    victory, taking out long-serving at-large white incumbents Oscar Edmunds and
    Andy Alissandratos, respectively.

    Whalum was uniquely able to serve both as a sounding board
    for black aspirations and a bridge between races and factions on the council. He
    was a moderate by nature, though sometimes his preacherly passions got the best
    of him and he sounded otherwise. Something like that happened during a couple of
    incendiary sermons he preached during the interregnum between the pivotal
    mayor’s race of 1991 and Herenton’s taking the oath in January 1992 as Memphis’
    first elected black mayor.

    Word of that got to me, and I was able to acquire a
    recording of one of the incriminating sermons. I had no choice but to report on
    it, and – what to say? – it made a bit of a sensation at the time, no doubt
    limiting Whalum’s immediate political horizons somewhat.

    It certainly limited the contacts I would have, again in
    the short term, with a political figure that I had previously had a good
    confidential relationship with. Whalum’s sense of essential even-handedness
    eventually prevailed, however, and we ultimately got back on an even keel.

    To my mind, in any case, Whalum’s outspokenness never
    obscured his essential fair-mindedness, and his occasional prickliness was more
    than offset by his genuine – and sometimes robust – good humor.

    There are many ways of judging someone’s impact on society,
    and one might certainly be the prominence of one’s offspring. In Rev. Whalum’s
    case they included the highly-regarded jazz saxophonist Kirk Whalum and the
    councilman-minister’s namesake son Kenneth Whalum Jr., a school board member and
    an innovative pastor himself — so innovative in his wide-open 21st-century
    style as to cause a generational schism involving Olivet church members. That
    would result in two distinct churches, one led by the senior Whalum, one by
    Whalum Jr.

    Kenneth Whalum Sr. had been something of a forgotten man in
    local politics since leaving the council at the end of 1995 (he would also run
    losing races for both city and county mayor). But he got his hand back in
    briefly during last year’s 9th District congressional race, making a
    point of endorsing Democratic nominee Steve Cohen, who ultimately prevailed.

    Appropriately, Rep. Cohen took the lead, along with Senator
    Lamar Alexander, on behalf of a congressional resolution re-designating the
    South 3rd Street Post Office in honor of Whalum, closing a cycle of
    sorts and forever attaching the name of Kenneth T. Whalum Sr. to one of the
    city’s landmarks.

  • Political Notes:

    Kenneth Whalum Sr.

    –Congressman Cohen was the target recently of what many local Memphians report on
    as a “push” poll taken by random telephone calls to residents of the 9th
    District. Purportedly the poll contained numerous statements casting Cohen in a
    negative light before asking recipients who they might prefer in a 2008 race
    between him and repeat challenger Nikki Tinker.

    (At least one person called recalled that the name of
    Cohen’s congressional predecessor, Harold Ford Jr., now head of the
    Democratic Leadership Council, figured in a triad of potential candidates being
    asked about.)

    –Early voting is now underway in the four city council
    runoffs that will be determined on November 8th.

    Those involve Stephanie Gatewood vs. Bill
    Morrison
    in District 1; Brian Stephens vs. Bill Boyd in
    District 2; Harold Collins vs. Ike Griffith in District 3; and
    Edmund Ford Jr
    . and James O. Catchings in District 6.

  • Categories
    News

    Ernest Withers Tribute in “NY Times Magazine”

    Ernest C. Withers had not been a Memphis police officer very long when he saw the limits of his power. In 1948, he became one of the first nine black police officers hired by the city. They were allowed uniforms, patrol cars and guns, but they were barred from patrolling white neighborhoods or arresting white people. Their job was to keep the peace in black Memphis, particularly inside the thriving and jiving Club Ebony, Club Paradise, Club Handy, Currie’s Club Tropicana and other night spots …

    Each year the New York Times Magazine does a cover story honoring significant people who died during the year. Read the rest of Hank Klibanoff’s tribute to one of Memphis’ finest — Ernest Withers.

    Categories
    News The Fly-By

    Q&A: Warren Lewis

    Seventy-five-year-old Warren Lewis made his reputation as a grassroots civil rights activist in the 1960s. He founded neighborhood organizations that distributed food to impoverished citizens in North Memphis, put street kids to work, and pushed elected officials to enforce equal rights for African Americans throughout the city.

    Today, Lewis’ barbershop at 887 N. Thomas Street serves as a hub for local news that seldom reaches the paper and a stumping ground for politicians. Lewis offers a unique perspective on the local role of the National Civil Rights Museum in light of the December 8th demonstration against the current museum board of directors.

    “I was involved with marches in the ’60s,” Lewis says, explaining his choice to sit this one out. “I don’t hardly go to marches anymore.” — Preston Lauterbach

    Flyer: Are folks in North Memphis talking about the controversy over who controls the Civil Rights Museum?

    Lewis: No, not much. They don’t know about the museum. They’re not informed. I’d like to see the museum open up to them and show them the things we’ve been through. Local people should be able to go through there for free to [learn about] the struggle. Maybe it would open their eyes to certain things. I talk to a lot of young people who aren’t informed about their history, and the museum might be able to help that.

    Are you satisfied with the way the Civil Rights Museum tells the story of the movement?

    I’m pretty satisfied with it. I had a flashback seeing pictures of the riots and the police siccing dogs on people.

    How could the museum function as a civil rights organization?

    If I was over there, I’d make contact with the people here in the ghetto and inform them about what’s going on. There should be more laymen involved with the museum [board of directors], people who have direct contact with what’s going on in the community. They’re not connected with the grassroots people. The civil rights movement included ordinary people. They can help the direction of the museum. It’s too top-heavy the way it is.

    What do you think about Al Sharpton’s decision to protest the way the museum is run?

    He opens the eyes of a lot of people, but I don’t see the [long-term] results.

    Categories
    News

    StoryCorps in Memphis Thursday

    The StoryCorps Griot is spending the next year traveling the country to gather the life stories of African Americans. It begins a six-week stay in Memphis on Thursday.

    The initiative, funded by the Corporation for Public Broadcasting and in association with the National Museum of African American History and Culture, is the largest of its kind since the WPA’s Federal Writers Project, which gathered the stories of more than 2,000 former slaves in the 1930s. In Memphis, StoryCorps is partnering with WKNO and the Memphis Public Library.

    Local participants are invited into StoryCorps’ mobile recording studio to share their stories. While the initiative is aimed at getting stories from World War II veterans and participants of the civil rights movement, everyone is invited. There is no fee, but a $10 donation is suggested.

    Select portions of the interviews will be broadcast on the StoryCorps’ website and on NPR with permission.

    The StoryCorps mobile studio will be parked at the Central Library, starting on Thursday at 11 a.m.

    For more information, go to the StoryCorps website.