Walking with Dr. King: The Civil Rights Legacy of Rabbi Maurice Davis

Last Sunday I went for a walk . . . I did not walk alone.

With these simple words Rabbi Maurice Davis described his 1965 trip to Selma to the readers of the (Indianapolis) Jewish Post. Rabbi Davis’s “walk” was a protest led by Dr. Martin Luther King, Jr. against institutional racism, voter suppression, and violence against African Americans. When King asked civil rights leaders from around the country to join him in Alabama, Davis had no question that it was his duty to join the demonstration of solidarity. Davis had long worked for civil rights through both secular and faith-based channels. He advocated for community action in his sermons to the Indianapolis Hebrew Congregation. He led several civic action councils that combated segregation, racist policies, and poverty. And he extended his appeal for civil rights to the entire city through a regular newspaper column and a television show. Mostly, however, Rabbi Davis marched at Selma “because it was right.”

Jewish Post, January 20, 1956, 1, accessed Hoosier State Chronicles.

“You Were a Spark for Us”

Maurice Davis was born in Providence, Rhode Island, in 1921. Census records show that his Russian-born father Jacob managed a garage while his mother Sadie cared for five children. They did well for themselves and were able to send Maurice first to Brown University in 1939 and then to the University of Cincinnati where he received his B.A. in 1945. He then received his Master of Hebrew Letters from the Hebrew Union College in Cincinnati. After serving several different congregations as a student rabbi, he became rabbi of Adath Israel in Lexington, Kentucky in 1951. By this point he was already active in the local civil rights movement and joined the Kentucky Commission Against Segregation.

Sketch of current home of the Indianapolis Hebrew Congregation at 6501 North Meridian Street, accessed https://ihcindy.org/who_we_are/history

Rabbi Maurice Davis became the spiritual leader of the Indianapolis Hebrew Congregation (IHC) in March 1956, in time to celebrate the centennial of its founding in 1856. Over 600 families made up the large congregation which was in the process of planning their new temple at 64th and Meridian, which still houses the IHC today (a move from their earlier location at the Market Street Temple.) As the ninth Rabbi serving the IHC, Davis continued to advance the forward-thinking Reform Judaism of his predecessors, according to the Jewish Post. In his first year, he attracted eighty new congregants, and  temple brotherhood president Herman Logan wrote in the congregational bulletin:

You were a spark for us which turned into a flame when a new brotherhood was beginning.

It was an auspicious start for the young rabbi.

“Something Less Than Welcome”

While the IHC welcomed Rabbi Davis, his wife Marion, and their sons Jay and Michael, some other Hoosiers made the Davis family feel “something less than welcome.” In 1959, the Jewish Post reported that Rabbi Davis’s son Jay was denied entry to the Riviera Club‘s swimming pool at 5640 North Illinois Street. The Rabbi told his congregation that Jay unfortunately learned first about the club’s “wonderful slide” and then its anti-Semitic policies. Jay summarized the situation as only a child could, stating: “Gee whiz, dad, it isn’t fair.” The Rabbi then had to explain the difference between legal segregation and social segregation to his son. The rabbi told his congregation that while many people think segregation in the private sphere “has no meaning” and should be tolerated, it does have meaning to the people it affects. And in this case, the meaning was that a nine-year-old boy was made to feel inferior to his peers.

Jewish Post, January 1, 1958, 1, accessed Hoosier State Chronicles.

The Jewish Post pursued the story, reporting on a survey of five “exclusive” Indianapolis clubs. Each club, including the Riviera Club, claimed not to discriminate against Jews. Some of the club chairmen and presidents even claimed they had Jewish members. However, when the Jewish Post interviewed the club managers, they reported that they knew of no Jewish members. Others in the club leadership claimed no Jews had applied for membership or that they did not keep track of religious affiliation. From the perspective of the Post, none gave a straight answer.

Jewish Post, July 17, 1959, 1, accessed Hoosier State Chronicles.
Jewish Post, July 29, 1960, 1, accessed Hoosier State Chronicles.

Rabbi Davis did not only respond to discrimination when it was personal. He believed that it was his responsibility, and that of all religious leaders, to work for moral justice. Not all of his Jewish colleagues agreed. In response to a 1960 Indianapolis Times poll of religious leaders (reported by the Jewish Post), two of Indianapolis’s leading rabbis (Congregation B’nai Torah and Shara Tefila) reported that clergy should keep out of politics. Rabbi Davis, on the other hand, said it was the responsibility of the synagogue to help inform members on political issues, to encourage them to be active participants in government, and “to speak up whenever morality or ethics are involved in politics.”

Jewish Post, October 13, 1961, 15, accessed Hoosier State Chronicles.

Rabbi Davis not only advocated for equality for Jews, but all people facing oppression. He encouraged Jews to look beyond their own community and work to end discrimination everywhere. He stated, “A decent and sensitive America is good for all Americans and we must help her be so” (more here). Indianapolis’s African American community took note. In 1960, the Indianapolis branch of the NAACP named Davis its “honorary chairman” and the Indianapolis Recorder reported regularly on his efforts to fight segregation and inequality. As president of the Indianapolis Human Relations Council, Davis worked to end racist mortgage and loan policies that denied fair housing to African Americans and created segregated neighborhoods (more here). He conducted personal investigations of restaurants and other establishments which had reputations for discriminating against African Americans and reported his findings in the Jewish Post (more here). By 1962, he had a regular column giving his views on issues of the day and often advocating for civil rights.

Jewish Post, July 27, 1962, 13, accessed Hoosier State Chronicles.

His columns were  often fiery calls to action. For example, in September 1963, he responded to the bombing of the Sixteenth Street Baptist Church in Alabama where four African American children were killed “while putting on their choir robes.” Rabbi Davis, however, blamed not just the bomber and not just the racism and negligence of the governor and police chief, but “every American citizen who participates in prejudice or fails to oppose it.” His powerful arguments against injustice were often shaped by the legacy of the holocaust. He continued:

Segregation and discrimination, lead to bombing and lynching as surely as anti-Semitism leads to Auschwitz and Buchenwald. And any man who walks that path, has not the right to be amazed where it leads. We who know the end of the road, must say this openly, and believe this implicitly, and practice it publicly. And privately. And always.

Not long after his article on the bombing, Rabbi Maurice Davis received a bomb threat of his own.

“My Name Was One of Them”

Photograph of John Lewis, Hosea William, Albert Turner and Bob Mants Leading Marchers over the Edmund Pettus Bridge on Bloody Sunday, Department of Transportation, Federal Highway Administration, Records Group 406, accessed National Archives Catalog.

By 1965, the civil rights movement had reached its “political and emotional peak” with three marches from Selma to Montgomery, Alabama, to protest the suppression of African American votes and the recent killing of activist Jimmie Lee Jackson (more here: International Civil Rights Center and Museum). On March 7, the protesters led by John Lewis began a peaceful march, but were soon stopped at the Edmund Pettus Bridge in Selma by state troopers and Dallas County police who were waiting for them. In an incident remembered as “Bloody Sunday,” police violently attacked the unarmed demonstrators with clubs and tear gas. Police beat Lewis unconscious. On March 9, Rev. Dr. Martin Luther King, Jr. flew to Selma and called for others to join him. That day, a larger group followed King back to the bridge to kneel in prayer, but dared go no further as a federal judge had issued a restraining order against the march. Many were disappointed that King did not attempt to march on toward Montgomery. Others, however, credit his concession with expediting the passage of the Voting Rights Act.*

Hammond Times, March 8, 1965, 1, accessed Newspapers.com.

The night of the second march to the bridge a group of white men killed Unitarian minister James Reeb who had traveled to Selma from Boston to join King. Related protests erupted across the country and King called for a third march. On Sunday, March 21, civil rights leaders and supporters from around the country arrived in Selma to march over the infamous bridge to Montgomery. Rabbi Maurice Davis would march in the front lines.

When the Indianapolis Star reported that Rabbi Davis and David H. Goldstein (of the Indianapolis Jewish Community Relations Council) had left for Selma, the newspaper estimated that these Hoosiers would join around 300 people. Instead, Davis reported that they joined thousands at Brown Chapel Methodist Church for a ceremony before the march. Davis described their arrival at the church:

As we approached Selma we saw the Army begin to position itself. Jeeps and trucks filled with soldiers, hospital units, and communications experts clustered along the way . . . The road leading to the church was lined with National Guardsmen, recently federalized.

While President Johnson ordered National Guard protection for the marchers to avoid a repeat of “Bloody Sunday” and its ensuing protests, the atmosphere was still tense. Davis and Goldstein met with some other rabbis after the service who had arrived before them. These rabbis told them that they were unable to buy a meal or place to stay, the reason being the Selma residents insisted on giving the activists whatever they needed.

Davis and Goldstein also looked to find out from the other rabbis where they could get yarmulkes, as a shipment was supposed to have recently arrived. Organizers wanted Jewish demonstrators from all branches of the faith to be as clearly visible as those of other faiths to show their support and numbers. They told Davis, “It is our answer to the clerical collar.” However, Davis and Goldstein had trouble finding one. They soon learned why.

Two days earlier, five rabbis were jailed for taking part in demonstrations. After holding Sabbath behind bars Friday, they announced they would hold a  service in front of the Brown Chapel after their release on Saturday. According to the Jewish Post, “Over 600 Negroes and whites, Jewish and non-Jews joined in the impromptu havdalah services for one of the most unique of its kind in history.” According to the Jewish Telegraphic Agency, those in attendance, regardless of their faith, donned yarmulkes “in respectful emulation of rabbis who participated in demonstrations.” In Selma, they became known as “freedom caps.” Davis reported that “all the Civil Rights workers wanted to wear them . . . That is where all the yarmelkes went!”

Jewish Telegraphic Agency, Daily News Bulletin, March 23, 1965, accessed Jewish Telegraphic Agency.

Dr. King entered the chapel at 10:45 a.m. Sunday. Davis was asked if he would represent the Union of American Hebrew Congregations. When he agreed, he was pulled up onto the platform next to King during the latter’s “magic” sermon. Davis explained:

Nothing but the word “magic” can quite describe what it is he does to so many. When King speaks, you are not an audience. You are participants. And when he finished we were ready to march.

Photo Courtesy of the Jewish Post Archive. Rabbi Davis can be seen just behind King and to his left.

The thousands of demonstrators were organized into rows with the first three rows chosen by Dr. King. Davis stated:

Before the march began a list of 20 names were read to accompany Rev. King in the first three rows, and my name was one of them. I marched proudly at the front . . .

He continued:

On the street we formed three rows of 8, locked our arms together, and started to march. Behind us the thousands began to follow.

Richmond Palladium-Item, March 22, 1965, 14, accessed Newspapers.com.

When they arrived at the infamous bridge they paused to remember those who came before them and were attacked. They continued onto the highway. The road was lined with armed National Guardsmen and five helicopters circled the group. State troopers were taking pictures of the marchers. Davis explained:

This is an Alabama form of intimidation. I kept remembering that these were the same state troopers who two weeks earlier had ridden mercilessly into a defenseless mass of people . . . We kept on marching.

The marchers passed people who “waved, wept, prayed, and shouted out words of encouragement” and others, “whites who taunted, jeered, cursed” or “stood with stark amazement at this incredible sight.” At one point they passed a car painted with hateful signs “taunting even the death of Reverend Reed.” Other signs read “Dirty communist clergy go home” and “integrationist scum stay away.”

Rabbi Davis marched for twelve hours without sitting down or eating. Unfortunately, Davis did not get to finish the march. Instead, he was called to fly to Cincinnati that night to be with his father-in-law who had been admitted to the hospital with a serious illness. When Daivs finally returned to Indianapolis, he was welcomed with a threatening phone call.

“It’ll be too late when it goes off.”

When Rabbi Davis answered his phone Monday night at 11:00, an anonymous man asked if he was “the rabbi who went to Selma.” When Davis answered affirmatively, the voice continued: “Let me check this list again . . . You are No. 2 in Indianapolis.” The implication was that Davis was the second on a hit list of activists. Davis told the caller he was calling the police, but the man replied: “It won’t do any good to call the police . . . it’ll be too late when it goes off.”

Jewish Post, March 26, 1965, 1, accessed Hoosier State Chronicles.

Police searched the house and found nothing.  But the calls continued. On Tuesday, Davis took the phone off the hook at 2 A.M. so the family could sleep. Letters arrived as well full of “unbelievable filth, ugly statements,” and intimate knowledge of his larger civil rights work.

Davis stated vaguely that he was required to take “protective measures” to protect his family. The rabbi did not expound at the time, but later his children recalled that they had a “babysitter” who carried a .45-caliber revolver under his jacket. From his statements to the press, it seems the rabbi was most hurt that the threats were possibly coming from fellow Hoosiers. He told the Jewish Post:

Monday night my life was threatened. Not in Selma. Not in Montgomery. Not in Atlanta. In Indianapolis.

“The Time Has Come to Worship with Our Lives”

Like King, Davis did not dwell on the darkness of humanity but used it as a chance to shine a light of hope on the potential of his fellow man. Just days after the threats on his family, the Jewish Post published a section of a sermon in which Davis explained why he felt called to join King in Selma. Davis stated that many people had asked him why he went. And he had trouble at first finding the right words. He liked the Christian term of “witnessing,” that is, seeing God in an event. He also liked the Hebrew term that Rabbi Abraham Herschel, who was also at Selma used: “kiddush ha-Shem,” that is, sanctifying God’s name. But in his personable manner, he ended up giving a simpler explanation to the Post:

I know now what I was doing in Selma, Alabama. I was worshiping God. I was doing it on U.S. 80, along with 6,000 others who were doing precisely the same thing, in 6,000 different ways.

Jewish Post, April 16, 1965, 27, accessed Hoosier State Chronicles.

He called others to join him. He referred to injustices that needed to still be overcome in order to unite all of humanity as a “brotherhood postponed” and tasked his followers with making sure that while such unity is delayed, it is not destroyed. The way to achieve justice was not only to pray in the traditional way, but also with actions. He wrote:

Brotherhood postponed. The time has come, and it has been a long time coming. The time has come to worship with our lives as with our lips, in the streets as in the sanctuaries. And we who dare to call God, God, must begin to learn the challenge which that word contains. “One God over all” has to mean “one brotherhood over all.”

Muncie Evening Press, April 28, 1965, 6, accessed Newspapers.com.

Rabbi Davis continued to work for civil rights in Indianapolis. He was again named honorary chairman of the NAACP. He served as a member of the Mayor’s Commission on Human Rights and on the board of the United Negro College Fund. He was president of the Indianapolis Council of Human Relations and organized the Community Action Against Poverty (sponsored by the City of Indianapolis and the President’s Commission on Equal Opportunity).

Jewish Post, January 22, 1986, 14, accessed Hoosier State Chronicles.

He never forgot his march with King. In 1986, he reflected in the pages of the Jewish Post about a first for the country:

You hear a song, or sniff an aroma, and all of a sudden you are miles and years away . . . It happens, too, with birthdays. January 20 was a very special day. The first national observance of the birthday of Martin Luther King, Jr. I hear them say the words, pronounce the name, and in the twinkling of an eye I am suddenly in Selma, Alabama with some 80,000 other people; Jews, and Protestants, and Catholics, and atheists, and agnostics . . . We were there because of a man whom we admired as much as we loved, and whom he loved as much as we admired. We were there because he was there. And he was there because it was right.

Notes:

The impetus for this story came from Jennie Cohen, Publisher, Jewish Post & Opinion.

Sources for Davis’s report of the march:

Rabbi Maurice Davis, “Rabbi Heschel Finds The Right Word For It,” (Indianapolis) Jewish Post, April 2, 1965, 8, accessed Hoosier State Chronicles.

Rabbi Maurice Davis, “Rabbi Davis Tells Why He Went to Selma,”(Indianapolis) Jewish Post, April 16, 1965, 22, accessed Hoosier State Chronicles.

Other sources are linked within the text.

*For more on the disappointment of some civil rights activists with King’s role in the Selma to Montgomery marches see: Deborah Gray White, Mia Bay, and Waldo E. Martin, Jr., eds., Freedom on My Mind: A HIstory of African Americans with Documents (Boston and New York: Bedford/St.Martin’s 2013), 675-6.

The Underground Railroad at Slavery’s Banks: An Unlikely Alliance

Wilson Armistead, “The friends of humanity laying the axe to the upas tree of slavery, which is ever loaded with the sum of all villanies,” (1853), courtesy of the Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, accessed via The New York Public Library Digital Collections.

In 1833, an enslaved African American man named Samuel Barkshire received his freedom in Boone County, Kentucky, manumitted (or legally freed) by slaveholder Joseph Hawkins for the cost of one dollar.  He would go on to become the patriarch of a group of Underground Railroad (UGRR) activists who helped freedom seekers along the Ohio River for over thirty years.  What makes his story distinctive, is that he was joined in this cause by his family and their own former slaveholder.

The Ohio River acted as a boundary between slavery and freedom.  For nearly 40 miles, it forms the northern border of Boone County, separating it from neighbors in Indiana and Ohio. This proximity to freedom caused local slaveholders to become hyper-vigilant for signs of pending escapes.  The county’s riverfront was under near-constant scrutiny of patrollers and slave hunters. In the event of an escape, the first to come under suspicion were any free African Americans living in the area. With the exception of the elderly and infirm, most formerly enslaved people left for friendlier communities immediately after manumission.

Deed of Manumission for Samuel Barkshire, Boone County Deeds, Book I, p. 28.

Samuel Barkshire chose to stay in Boone County, perhaps because his family was still enslaved there.  He bought a 100-acre farm bordering the land of his former slaveholder, Joseph Hawkins.  The land once owned by Samuel’s first slaveholder, Dickey Barkshire, was also nearby. Part of the land Samuel once owned runs along a ridgeline overlooking the Ohio River.  The ridges near the river were often used by freedom seekers as safe routes leading to several crossing points from Boone County to free states.  In addition to the heirs of slaveholders Joseph Hawkins and Dickey Barkshire, Samuel’s neighbors also included the Universalist Church and some of its anti-slavery members.  This placement put Samuel in a position to help freedom seekers while still living in a slave state.  This was a dangerous endeavor, but a strong possibility, considering his level of involvement in the UGRR in Rising Sun.

R.G. Williams for the American Anti-Slavery Society, “Cruelties of Slavery,” (1835), courtesy of the Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, accessed via The New York Public Library Digital Collections.

When Joseph Hawkins died in 1836, his widow Nancy was his only heir. Little is known about Nancy’s early life, but she appeared in Joseph’s life sometime around 1817, and they had no children. Hawkins’ will is a simple document; he left all of his land and property to Nancy.  There was no inventory taken of the estate, but tax lists of the year of his death show he was the owner of ten enslaved people and about two hundred acres of land.

Before her marriage to Joseph, Nancy was the consort of Dickey Barkshire for a period of years following his first wife’s death.  Though this relationship is referenced in her probate, no marriage document has surfaced; she may have been Dickey’s wife in name only. This connection to the Barkshires indicates she knew Samuel Barkshire for years before marrying Joseph. Nancy’s relationship with Samuel and his family was very close, so it’s likely she asked her new husband to acquire ownership of the man, in order to free him.   This also may have been the case with Violet, a woman once listed as a slave of Hawkins, who was later freed. Violet and Nancy were baptized together upon joining Middle Creek Baptist Church, and lived either in the same home or nearby one another until Nancy’s death in 1854.

Nancy Hawkins’s Rising Sun house, which was owned by Barkshire’s sons after her death. Photo courtesy of the author, taken January 2017.

Two days after the probate of Joseph Hawkins’ estate, Nancy purchased a home in Rising Sun. The Barkshire family, Violet and several other bondsmen moved across the river at the same time.  Nancy, now living in a free state, began to manumit the enslaved people she had brought from Kentucky. Nancy seemed cognizant of the dangers faced by African Americans, even those legally manumitted and living on free soil. They could be kidnapped and sold back into slavery, or bound as an indentured servant, if debt or need came into play. If the former slave was not yet of age, and had no guardian, one would be assigned by the courts, without consent of the minor. In order to avoid these pitfalls, Nancy Hawkins filed manumissions only after there was some sort of protection in place, should something happen either to her or to Samuel and his wife.

This fall marks the 180th and 170th anniversaries of two rounds of manumissions filed by Nancy Hawkins in Indiana.  In August, 1838, the first group: Harriet Frances Barkshire (Samuel’s wife), a man named Sandy and Mariah Hawkins (listed together), and a woman named Catherine were manumitted by deed.  All were adults, but the manumission did not get filed until after Catherine was married in Dearborn County.  This is important, a single woman would have been more vulnerable than the married women in the group.  The second round of manumissions was filed in September of 1848, and included the Barkshire children:  Arthur, Garrett, Matilda, Emily, Woodford and Minerva.  One curious detail of their manumission papers was that each person’s exact birthdate was given. At the time of their manumissions, the two eldest boys, Arthur and Garrett, were both over 21 years old, and could therefore act as guardians for the younger children if something were to happen to their parents or to Nancy Hawkins.  This was no light concern, considering the involvement of the family in UGRR activity in the area.

Levi Coffin, courtesy of the National Park Service.

Samuel Barkshire acted as a coordinator and point of contact for Rising Sun’s UGRR network. He was well-known to local anti-slavery activists, and was acquainted with Levi Coffin, the “President of the Underground Railroad.” His participation is also mentioned in the memoirs of abolitionist Laura Smith Haviland, who sought his help in freeing a Boone County family who were enslaved in Rabbit Hash.

The three Barkshire sons acted as conductors, both on the river and over land.  Their reach stretched from New Orleans all the way to Ontario, with Rising Sun serving as their base of operations.  The three daughters’ involvement is not clear, but their parents and Nancy Hawkins, (with whom they sometimes lived), ran “stations” or temporary hiding places. The clandestine nature of this work would require both the help and complicity of the three girls.

The Journal-Courier (Louisville, Kentucky), March 18, 1837, 3, accessed Newspapers.com.

Though Nancy’s involvement was not discovered during her lifetime, it was later revealed in a remembrance printed in the newspaper. As a well-heeled widow and former slaveholder herself, it was likely she wasn’t suspected by slave hunters.  The author of the newspaper piece written in the 1880s, describes in great detail an episode in which five freedom seekers were kept hidden in Nancy’s home for days on end, unbeknownst to their Boone County slaveholders just across the river. It’s probable that this event was not an anomaly; she may have helped many times over.

Violet’s participation may have been comparable to that of the Barkshire daughters.  She lived either with or next door to Nancy in Rising Sun over the years. Sandy Hawkins, who was freed along with Mariah, moved to New Orleans after his manumission. In 1851, he was accused of harboring a fugitive slave in his New Orleans home.  Like many UGRR conductors, he also worked on riverboats, traveling from slave territory to free states regularly.  Joseph Edrington, the man Catherine married in Rising Sun shortly before her manumission, was also named in Laura Smith Haviland’s memoir, as an agent of the UGRR.

The relationship between Nancy Hawkins, her friend Violet and the Barkshire family is clear in the will she left in 1854.  The entirety of her household possessions were divided between the three Barkshire girls, and Violet received personal items and money. The three Barkshire sons were to share in the profit from the sale of her house, which they promptly bought back at auction. Though an unusual group, these Rising Sun activists did much to further the cause of freedom from bondage.

Vivian Carter: From Gary Roosevelt High School to Introducing The Beatles

Accessed via the Calumet Regional Archives.

In an era when African Americans, especially women, were often professionally sidelined, Vivian Carter forced herself onto the field. Through her ingenuity and personal popularity, the musical “matriarch” became a business owner and record producer. Her company, Vee Jay Records, recorded and popularized many successful musicians of the mid-20th century, ranging from Rhythm-and-Blues to Pop Rock, Doo-Wop, Gospel, Soul, and Jazz artists. Although music had been strictly segregated along racial lines, Vee Jay introduced both black and white artists to mixed crowds of local teenagers first, and then to a national audience between 1953 and 1966. The company released recordings of some of the nation’s most prolific musicians, including Little Richard, The Beatles, Jimi Hendrix, and The Four Seasons.

Beginnings

Born in 1921 in Tunica, Mississippi, Vivian Carter moved with her brother and parents to Gary at age 6. As a child and teenager, she was competitive, outgoing, and self-confident. These qualities helped her win a 1948 contest for the “best girl disc jockey in Chicago,” which was the beginning of Vivian’s radio career. Eventually, Vivian had a five-hour nightly radio program in Gary, called “Livin’ With Vivian,” referring to female listeners as “Powder Puffs” and male callers “Sponges.” The “hostest who brings you the mostest” played music by black artists and much of what she played was not available on commercial records. Since Vivian owned a record store in the heart of Gary, along with her future husband Jimmy Bracken, she knew that recordings of this music would sell.

Courtesy of the NWI Times.

Teenagers of all races from several Calumet Region schools would gather after school to watch Vivian through the glass store window while loudspeakers broadcast her favorite Rhythm and Blues recordings, as recalled by Jerry Locasto, a future radio executive who was one of those kids. While the records played, Vivian would come out and mingle with the kids to find out what they liked or disliked about each one. Kids could request songs, and she would play them. In 1953, Vivian and Jimmy started their own record label, called Vee Jay Records from the initials of “Vivian” and “Jimmy,” to record the music of local black artists.

Their first group was the Spaniels, a group of crooners from Gary Roosevelt High School, Vivian’s alma mater. The boys walked into the record shop after winning a talent contest at school, to ask if Vivian knew how they could get a recording made. Vivian listened to the group, then gave the impoverished boys a place to practice – her mother’s garage –and arranged to record them at Chance Records, a studio in Chicago. She later bought suits for their publicity photos and a station wagon for their travels.

Best Years of Vee Jay Records

Vivian Carter-Bracken, James Bracken, and Ewart Abner at work, 1961, courtesy of the Made-in-Chicago Museum.

The Spaniels’ first record, “Baby, It’s You” reached #10 on the Rhythm and Blues charts. Then the Spaniels hit #5 with their second record, “Goodnite, Sweetheart, Goodnite.” The record “crossed over” from the Race Records category to become a hit with white purchasers as well. But Vivian was disappointed when the McGuire Sisters, a “white girl trio,” sold more copies with their “cover” of the same song. She asked her brother, Calvin, to put more of a white-sounding background on the future records, to appeal to broader audiences. And the young company learned to print and register publishing rights to all their performers’ original songs, so they still made money when other performers covered them.

Ewart Abner, courtesy of Discogs.

In 1954, Vee Jay moved to Chicago and eventually opened on Michigan Avenue’s “Record Row.” Vivian, Calvin, and her husband Jimmy remained the heads of the company. But according to Bob Kostanczuk of the Gary Post-Tribune, Vivian was always “viewed as the company’s matriarch and driving force.” They hired the knowledgeable Ewart Abner, accountant for the former Chance Records, after Chance went out of business. Abner started as manager and eventually worked his way up to president.

In the next ten years, Vee Jay Records released successful recordings of black and white performers, including hits like The Four Seasons’s “Big Girls Don’t Cry,” The Dells “Oh, What a Night,” and The Beatles’s “Love Me Do” and “Twist and Shout.” Since radio stations wouldn’t play several records from one company label in the same time slot, Vee Jay also recorded under the labels Falcon, Conrad, Tollie, and Abner, from the middle names of the company’s principals. Vee Jay opened a Los Angeles studio, and Vivian and Jimmy soon drove around in luxury convertibles and fur coats.

The Beginning of the End

Courtesy of the Made-in-Chicago Museum.

Vee Jay’s best (and worst) luck came in 1962 when they tried to buy distribution rights for Australian singer Frank Ifield’s European hit single “I Remember You.” The Gary Post-Tribune on August 23, 1998, noted that the British agent insisted they also take a quartet named The Beatles, unknown at that time in the United States. Vee Jay released several Beatles singles and their first U. S. album, to lukewarm success until the group appeared on the nationwide Ed Sullivan Show.

Then Beatles’ sales skyrocketed. Capitol Records, who had earlier turned down the Beatles, started filing lawsuits against Vee Jay to get the group back, as reported by Mike Callahan in “The Vee Jay Story” in Goldmine (May 1981). The cost of defending the lawsuits, in addition to Ewart Abner’s poor financial management and gambling habit, wiped out Vee Jay’s money and credit, and put the company out of business.

Vee Jay president Randy Wood presenting a gold record to John Lennon, courtesy of the Made-in-Chicago Museum.

In a life story that Vivian called “rags to riches to rags,” Vivian and Jimmy lost everything, even their little record store, and divorced. Jimmy died and Vivian worked days at the county trustee’s office and hosted a late-night radio program in Gary from 1967 to 1982. According to Dr. James B. Lane’s Traces of Indiana and Midwestern History article, when her best friend from high school, Yjean Chambers, asked how Vivian felt about the spectacular rise and fall of her recording business, Vivian replied that she had “learned too late the art of looking over the shoulder of those who work for you.” Then Vivian added, “But I don’t miss a thing. That’s all behind me now.”

After several years of illness, Vivian died of complications from diabetes and hypertension in 1989. Lane says one of Vivian’s last visitors was James “Pookie” Hudson, her first recording artist, who sang Vivian to sleep with his hit song, “Goodnite, Sweetheart, Goodnite.”

Further Reading

For photos and a brief history of Vee Jay Records, see Andrew Clayman’s article for the Made-in-Chicago Museum.

Learn more with James B. Lane’s article in Traces of Indiana and Midwestern History, Winter 2011, Vol. 23, pp 48-55.

“Tired of Going to Funerals:” The 1972 National Black Political Convention in Gary

Delegates, including Reverend Jesse Jackson, marching into the National Black Political Convention, courtesy of Gene Pesek/Chicago Sun-Times, accessed wbez.org.

They agreed that black prisoners should receive fair trials, that black Americans should not die years earlier than white counterparts, that black workers should be afforded a living wage, and that black candidates should be given opportunities to craft legislation that affected their communities. They shared a collective outrage. In 1972, organizers asked them – Americans of color affiliated with Socialists, Democrats, Republicans, Nationalists, and the Black Panthers- if they could overcome differing ideologies to channel this outrage into political action at the National Black Political Convention (NBPC) held in Gary, Indiana. Black poet and activist Amiri Baraka (formerly LeRoi Jones) advocated for the gathering to practice “unity without conformity.”

According to an essay in Major Problems in African American History, the Gary convention was the culmination of a series of uprisings in protest of discrimination, which historians refer to collectively as the Black Revolt. Black Americans were emboldened by tragic events, such as the assassination of Malcolm X in 1965, as well as legislative progress, like the Voting Rights Act of 1965.  In an interview, North Carolina convention delegate Ben Chavis recalled:

I had gotten tired of going to funerals. . . . so much of the Movement had been tragic. You know. And I have to emphasize [Rev. Martin Luther] King’s assassination was a tragic blow to the Movement. And so four years later, March of ’72, for us to be gathering up our wherewithal to go to Gary, Indiana–hey, that was a good shot in the arm for the Movement.

Historian Stephen Grant Meyer identified 1968, when King was assassinated, as the year in which the modern civil rights movement began to diverge. No longer was integration the primary means to make political and economic gains.  This fracture gave rise to a Nationalist faction, which sought to promote black identity and improve living conditions through a separate black nation. The polarization was reminiscent of the late-19th and early-20th century debates between reformer Booker T. Washington and intellectual W.E.B. Du Bois, who both worked to ease the economic and social plight of African Americans. Washington believed this was best achieved by earning the respect of white citizens through hard work and self-help. Du Bois, on the other hand, believed white oppression should be cast off by protests and political activism, in large part through the National Association for the Advancement of Colored People (NAACP), an organization he co-founded.

Black Panther co-founder Bobby Seale. According to the NWI Times, he declared “all black people, involved in any way with survival programs for the black community, [to be] revolutionaries at the National Black Political Convention,” AP Photo, courtesy of the NWI Times.
NBPC organizers, who had begun planning the conference in 1970, struggled to find a city willing to accommodate an influx of politically-engaged black Americans. Gary Mayor Richard G. Hatcher, an advocate of civil rights and minorities and one of the first African American mayors of a major U.S. city, volunteered his predominantly black city. Not since the 1930s, with the first meeting of the National Negros Congress in Chicago, had such a massive and diverse gathering of people of color convened to advance their rights. Approximately 3,000 official delegates and 7,000 attendees from across the United States met at Gary’s West Side High School from March 10 to March 12. The attendees included a prolific group of black leaders, such as Reverend Jesse Jackson, Coretta Scott King, U.S. presidential candidate Shirley Chisholm, Amiri Baraka, Muslim leader Minister Louis Farrakhan, Black Panthther co-founder Bobby Seale, and Malcolm X’s widow Betty Shabazz. Organizers sought to create a cohesive political strategy for black Americans by the convention’s end.

Television crews waiting for convention to start, courtesy of the NWI Times.

A bomb threat was called into convention headquarters at the Holiday Inn and a local gang reportedly deposited guns in school lockers. These threats to disrupt the convention necessitated additional security. Uniformed and plainclothes policemen reinforced the northwestern Indiana city. Armed civil defense personnel supplemented the police presence and boxer-turned-activist Muhammad Ali served as sergeant-at-arms.

The high school, decorated with red, white, and blue bunting, thrummed with activity. As vendors sold books, banners, and souvenirs, a band prompted snapping and feet-tapping with “gutsy,” drum-driven music. The Munster Times reported “Two or three white reporters, their faces split with grins, were lost somewhere with the music. A policeman absentmindedly slapped the butt of his pistol to the beat.” Delegates ranging from “pinstripe-suited conservatives to youngsters in colorful flowing robe-type shirts [dashikis] and mod fashions to the black-uniformed para-military” milled about the gym waiting for the delayed convention to finally start. Organizers scrambled to respond to complaints that the elevated platform for journalists blocked the stage.

Welcome poster, courtesy of the NWI Times.

Entertainers like James Brown and Harry Belafonte lent their support to the convention by performing. Comic and civil rights activist Dick Gregory, weighing 90 pounds as a result of fasting to protest the Vietnam War, addressed the audience about issues of policing and drug access and asked, “‘[H]ow can a black kid in Harlem find a heroin pusher and the FBI can’t?'”

State delegations, national organizations, and individuals proposed resolutions in the creation of “A National Black Agenda” (Muncie Evening Press). This agenda would extend the movement beyond the convention. As convention attendee and Distinguished Lecturer at York College City University of New York Dr. Ron Daniels noted, the Black Agenda was “integral to holding candidates, who would seek Black votes, accountable to the interests and aspirations of Black people.”

Delegates from Illinois suggested fines and prison sentences for businessmen found guilty of discriminatory practices. North Carolina attendees proposed a bill of prisoners’ rights that included humane treatment and fair trials. Delegates from Indiana and other states demanded that the U.S. dedicate resources to the plight of black Americans rather than the Vietnam War and end the conflict immediately. North Carolina representatives also urged that black men receive Social Security benefits earlier than white men since their life expectancy was eight years shorter. The Muncie Evening Press noted that “Politicking was intense . . . as state delegations tried to compromise their own views with positions they felt other delegations could support.” Tensions ran so high that part of the Michigan delegation walked out of the convention.

Muncie Evening Press, March 11, 1972, 1, accessed Newspapers.com.

Keynote speakers Reverend Jackson, executive director of P.U.S.H. and Operation Breadbasket, and Mayor Hatcher ignited the crowd and “stoked rhetorical fires aimed at molding the diverse black communities represented here into a solid unit that can tip the political balance this presidential election year and from now on” (Munster Times).

While similar in many aspects, the men’s speeches hinted at the divergence in philosophies pervading the convention. Hatcher believed change could come from within the existing two-party system, so long as the parties responded to the needs of African Americans. However, if legislators continued to neglect black constituents, black Americans would create a third party and, he told attendees, “we shall take with us the best of White America . . . many a white youth nauseated by the corrupt values rotting the innards of this society . . . many of the white poor . . . many a White G.I. . . . and many of the white working class, too.” The party would also welcome “chicanos, Puerto Ricans, Indians [and] Orientals” (Indianapolis Recorder).

However, Jackson, appealing to Nationalists, urged the immediate formation of a black party, potentially called the “Liberation Party.” He asserted “‘Without the option of a black political party, we are doomed to remain in the hip pocket of the Democratic party and in the rumble seat of the Republican party'” (Kokomo Tribune). Jackson also called for the establishment of black institutions to oversee black educational, economic, and judicial matters. He asked the crowd “what time is it?” and the audience, electrified, shouted “It’s Nation Time!”

Harry Williams, “Convention Raps Busing,” The Republic (Columbus, Indiana), March 13, 1972, accessed Newspapers.com.

Jackson’s proposal drew criticism from some black organizations, like the NAACP, which believed that continued segregation, albeit black-led, would impede progress. According to Major Problems in African American History, the NAACP circulated a memo at the convention denouncing the proposal of a separate nationhood for African Americans and criticizing the rhetoric for being “‘that of revolution rather than of reform.'” An Indianapolis Recorder editorial articulated this point, noting “The only road to nationwide achievement by a minority is through cooperation with the majority.”

Presidential campaign poster courtesy of the Library of Congress, accessed BBC.com.

Another contentious issue in the 1970s: school desegregation through the forced busing of black children to white schools. The Jackson faction opposed busing and defined successful black education not as being able to attend white schools, but rather as children attending black-led schools. The endorsement of the presidential candidate that would best represent black interests also generated conflict at the convention. Some delegations supported Democrat Shirley Chisholm, America’s first black Congresswoman, while many Nationalists wanted a leader from a black party.

After intense debate, a steering committee tentatively adopted a National Black Agenda. The committee officially published the 68-page document on May 19, Malcolm X’s birthday. The resolutions included black representation in Congress proportionate to the U.S. black population, a guaranteed minimum income of $6,500 for four-person households, a 50% cut in the defense and space budgets, and an end to national trade with countries that supplied the U.S. drug market. The resolutions, designed to move black Americans towards “self-determination and true independence,” represented major, yet tenuous compromise among the black community.

Image courtesy of NWI Times.

The steering committee also formed the National Black Political Assembly, a body tasked with implementing the Black Agenda. Dr. Daniels noted that, although many of the agenda’s resolutions never materialized, “thousands of Black people left Gary energized and committed to making electoral politics a more relevant/meaningful exercise to promote Black interests.” He attributed the quadrupling of elected black officials by the end of the 1970s, in large part, to the Gary convention and the “audacity of Black people to . . .  defend black interests.” The NBPC was notable too for its inclusion of black Americans from all walks of life, rather than just prominent black figures, in formulating how to ease the struggles of the black community. The Recorder also noted that Mayor Hatcher’s reputation “has been considerably burnished in the white community as well as the black by the success of the historic event” (Indianapolis Recorder).

In 2012, Gary hosted the 40th anniversary of the National Black Political Convention. Speakers discussed the issues that had prevailed into the 21st century, such as a disparity in prison sentencing and poverty. One speaker remarked that without Shirley Chisholm, America’s first black president Barack Obama would not have occupied the White House. Another speaker, who ran for mayor of Baltimore, lamented that forty years after the convention “we’re still asking what to do instead of how to do it.” When asked if it was still “nation time” one speaker responded “it’s muted nation time.” Black Americans, they agreed, needed to “have the audacity.”

Contact: npoletika@history.in.gov

 

SOURCES USED:

“Black Convention Split Over Separation,” Terre Haute Tribune, March 11, 1972, accessed Newspapers.com.

“Black Meet Without Incident Bodyguards, Police Vigilant,” Munster Times, March 12, 1972, accessed Newspapers.com.

“Black Political Movement Born in Gary,” Lafayette Journal and Courier, March 13, 1972, accessed Newspapers.com.

“Creation of ‘The National Assembly’ Concludes Black Political Convention,” Kokomo Tribune, March 13, 1972, accessed Newspapers.com.

Dr. Ron Daniels, “It’s Nation Time: The 40th Anniversary of the Gary National Black Political Convention,” Institute of the Black World 21st Century, March 28, 2012.

Harry Williams, “Convention Raps Busing,” Columbus Republic, March 13, 1972, accessed Newspapers.com.

“Hatcher to Keynote Black Convention,” Indianapolis Recorder, March 11, 1972, accessed Hoosier State Chronicles.

Jay Harris, “Black Political Agenda Hit on Busing, Israel,” Wilmington (DE) Evening Journal, May 19, 1972, accessed Newspapers.com.

John Hopkins, “Leaders Mold Black Power: Warn Parties” and James Parker, “Blacks Marching to Different Drums,” Munster Times, March 12, 1972, accessed Newspapers.com.

“Keeping Watch,” Lafayette Journal and Courier, March 10, 1972, accessed Newspapers.com.

Major Problems in African American History: Documents and Essays, Second Edition, eds. Barbara Krauthamer, Chad Williams, and Thomas G. Paterson (Cengage Learning, 2016): 510-515.

“National Black Agenda Calls for Permanent Political Movement,” Kokomo Tribune, March 12, 1972, accessed Newspapers.com.

“Plans Span Wide Range of Opinion,” Muncie Evening Press, March 11, 1972, accessed Newspapers.com.

“Wants Changes,” Valparaiso Vidette-Messenger, March 11, 1972, accessed Newspapers.com.

Charles Gordone: Finding His Place to Be Somebody

Charles Gordone
Charles Gordone, accessed Blackpast.org.

The unified efforts of the Civil Rights Movement began to fracture when in 1966 a new strategy and ideology emerged, known as the Black Power Movement.  This new movement also influenced the development of the Black Arts Movement.  According to historian Ann Chambers, the Black Arts Movement did not speak for the entire black community; however, the movement gave a “new sense of racial pride to many young African-American artists.” One African-American writer and actor who opposed the Black Arts Movement was Pulitzer Prize winning playwright, Charles Gordone.

Gordone was born Charles Fleming in Cleveland, Ohio, on October 12, 1925.  In 1927, his mother moved with her children to Elkhart, Indiana.  By 1931, she married, changing Charles Fleming’s name to Charles Gordon.  He attended Elkhart High School and, although popular at school, faced racial discrimination while living in Indiana because of the divide between white and African-American children.  According to Gordon, both races rejected him.  White children avoided him because he was black, and the town’s African-American community shunned him because his family “lived on the other side of the tracks and . . . thought we [the Gordons] were trying to be white.”

After serving in the US Army Air Corps, he enrolled in Los Angeles City College, and graduated in 1952. Gordon stated that he majored in performing arts because “I couldn’t keep myself away from the drama department.”  His experiences in college influenced his outlook on race in America.  Gordon stated “I was always cast in subservient or stereotypical roles,” and he began wondering why he was not given prominent parts in Shakespeare, Ibsen, Strindberg, Pirandello plays. After graduation, Gordon moved to New York City. Once on the east-coast, Charles Gordon added an “e” to the end of his name, and became Charles Gordone when he joined Actor’s Equity Association; a labor union for theater actors and stage managers.

Supporters of the Committee for the Employment of Negro Performers picketing a theater in New York City, 1962, courtesy of gettyimages.co.uk.

Two months after Gordone’s arrival in New York, he performed in Moss Hart’s Broadway play, The Climate of Eden, the “first of many Broadway and off-Broadway productions” for Gordone. He soon realized that black actors had a hard time earning a living in the entertainment business, and he claimed he “began to get really intense” about the lack of acting jobs for African Americans.  He started conversing with many “young black actors,” and soon started picketing theaters on Broadway for better job opportunities. Similarly, fellow Hoosier actor William Walker, who portrayed Reverend Sykes in the film version of To Kill a Mockingbird, became a fierce civil rights advocate in Hollywood after being relegated to roles as a domestic servant because of his race. Walker worked with actor and future president Ronald Reagan to obtain more roles for African Americans.

Around 1963, Gordone became the chairman of the Committee for Employment of Negro Performers (CENP). Gordone claimed in 1962 and 1963 that television producers feared the withdrawal of corporate sponsorship if they “put Negroes in their shows” and that “discrimination took more forms in the entertainment field than in any other industry.”

Although the Civil Rights Movement had made extensive strides toward improving equality among the races, civil rights laws did not deter de facto segregation, or forms of segregation not “codified in law but practiced through unwritten custom.” In most of America, social norms excluded African Americans from decent schools, exclusive clubs, suburban housing divisions, and “all but the most menial jobs.”  Federal laws also did not address the various factors causing urban black poverty. As racial tension mounted throughout the United States, Gordone struggled to survive in New York City.  During the last half of the 1950s, out of work and broke, Gordone took a job as a waiter for Johnny Romero in the first African-American owned bar in Greenwich Village.  His experiences there inspired his play No Place to Be Somebody, which he began scripting in 1960.

During the next seven years writing his play, Gordone sporadically worked in the theater industry.  He was an original member of the cast for Jean Genet’s The Blacks: A Clown Show.  The playwright, a white man, intended the play for an all African-American cast and a white audience.  He states in his script that “One evening an actor asked me to write a play for an all-black cast.  But what exactly is a black?  First of all, what’s his color?”

In The Blacks: A Clown Show, African Americans wage war against the “white power structure,” and the oppressed evolve into the oppressor. Warner noted that Genet’s play put Gordone “in touch with his black anger.”  In 1969, Gordone claimed that his experience as part of the cast changed his life because the play dealt with problems about race, enabled him to confront the “hatred and fear I [Gordone] had inside me about being black,” and introduced a talented group of African-American actors to the entertainment media including James Earl Jones and Maya Angelou.

1970 play bill, accessed hollywoodmemorabilia.com

Gordone finished his own play, No Place to Be Somebody, in 1967. The plot of the play revolves around an African-American bar owner named Johnny Williams.  Other characters include a mixed-race actor, a black homosexual dancer, a Jewish strumpet, a black prostitute, an Irish hipster, an aging black hustler, a member of the Italian mafia, an influential white judge, and the judge’s idealistic daughter. Johnny Williams, is a tavern-owner, pimp and wannabe racketeer.  His foil, Gabriel, also an African-American, is an intellectual struggling to be accepted as a legitimate actor.

According to a New York Times reviewer, the characters are forced to try and survive in a society controlled by white standards.  Johnny Williams possesses a desire to become “somebody” in Italian-run organized crime; Gabriel fails in his attempts to be cast in African American roles because he is light-skinned. The characters’ actions in No Place to Be Somebody are influenced by racial and cultural pressures directed towards characters of opposing races.  According to Gordone, “It [the play] is the story of power, about somebody who is stifled who was born in a subculture and feels the only out is through the subculture.”  By the end of the play, most of the characters fail in obtaining their goals because they have all set their “ambitions in excess of their immediate limitations.”

Gordone originally offered the play to the Negro Ensemble Company (NEC); an acting group rooted in the Black Arts Movement. He claimed the co-founder, Robert Hooks, turned it down because the NEC did not allow white actors in their theater troupe. Gordone and Warner produced a “showcase version” of the play at the Sheridan Square Playhouse in 1967, but “the response wasn’t too good.”  Gordone and Warner lost all their money in the venture. But in 1969, the play was accepted for the “Other Stage Workshop,” in Joseph Papp’s Public Theater, at the New York Shakespeare Festival.

Charles Gordone
Gordone directing his Pulitzer Prize-winning play at Joe Papp’s Public Theatre in New York, courtesy of Ebony.com.

No Place to Be Somebody opened on May 4, 1969 to mixed reviews.  New York Times reviewer, Walter Kerr, compared Gordone’s work to Edward Albee’s masterpiece, Who’s Afraid of Virginia Woolf?  Other reviews called the play “engrossing,” “powerful,” and hailed it as one of the “unique” plays of 1969.  On the contrary, influential African-American critic, Clayton Riley, blasted the play’s poor production and directorial choices.  Riley also questioned Gordone’s “incomprehensible” dialogue, depiction of “self-hatred,” “contempt for Black people,” and his “desire to say too much.”  Yet, Riley did state that Gordone possessed “splendid talents.”  According to Gordone, Riley’s review “hurt Riley more than me [Gordone] … brother Clayton is uptight.  He can’t face it that The [white] Man is helping one of his brothers.”

Headline from The [Arkansas] Hope Star, May 6, 1970, 5, accessed Newspapers.com.
After the play’s opening, No Place to Be Somebody quickly moved to the Anspacher Theater for an extended period of time and opened for a limited run on Broadway in the ANTA Theater. Exactly one year after the play opened at the Shakespeare Festival, May 4, 1970, Gordone won the Pulitzer Prize for Drama.  The play was the first off-Broadway winner, and Gordone became known as the first African-American playwright to win the award.  Yet he did not appreciate being categorized as a member of “black theater” or the Black Arts Movement, unlike Indianapolis poet Etheridge Knight.

According to a 1982 interview, Gordone’s views on race “alienated many blacks.” Gordone argued, in a 1970 New York Times editorial piece, that writers like LeRoi Jones (Amiri Baraka) should write about more than “how badly the black man is treated and how angry he is.”  Gordone believed such theater intensified the split amongst the races, and he questioned “Is black really ‘beautiful’?  Or is that beauty always hidden underneath the anger and resentment?”  According to Gordone, Jones’ writing was “egotistical, smug, angry (never violent), frightened, and damning of every white man in the world,” and Gordone took offense that Jones was “attempting to speak for all people of color in this country.”

According to Mance Williams, Gordone opposed the Black Arts Movement’s notion that the “Black Experience is a singular and unique phenomenon.”  Gordone believed that African-American culture was one part of the larger American Culture, reasoning that without the “white experience,” there cannot be a “black experience.” Williams states that Gordone believed the races were interrelated, and helped create the unique qualities that defined the “white” and “black” races. In a 1992 interview, Gordone said “We need to redefine multiculturalism.  There’s only one culture—the American culture, and we have many ethnic groups who contribute.”

Poet Amiri Baraka, a major figure in the Black Arts Movement, courtesy of Amherstmedia.org.

One possible explanation for Gordone’s belief in multiculturalism is the fact that he claimed his ancestral makeup consisted of “part Indian, part French, part Irish, and part nigger,” and he jokingly called himself “a North American mestizo.” Williams claims the playwright deemed the “color problem” could only be resolved through cooperation between the races, and that is why Gordone shied away from any radical political movements that could further divide the races.  However, according to Gordone, his exclusion from the Black Arts Movement left him “Dazed, hurt, confused, and filled with self-pity.”

Gordone claimed his professional success put tremendous pressure on him. Winning the Pulitzer Prize made Gordone unhappy because he was acclaimed as a writer, rather than a director. According to Gordone, “every time you sit down at a typewriter, you’re writing a Pulitzer Prize. You’re always competing with yourself and you have to write something that’s as good or better.” In 1969, he began drinking heavily, hoping “get the muse out of the bottle” after the “long struggle.” During Gordone’s battle with alcoholism, he still worked in the theater industry.  He got involved with a group called Cell Block Theater, which used theater as therapy as part of an inmate rehabilitation program.

In 1981, Gordone met Susan Kouyomjian and in 1982 they founded The American Stage, an organization devoted to casting minorities into non-traditional roles, in Berkeley, California.  The American Stage productions included A Streetcar Named Desire with a Creole actor playing Stanley; Of Mice and Men with two Mexican-American actors playing George and Lenny; and The Night of the Iguana with an African American actor in the lead role of Shannon.  According to Gordone, he and Kouyomjian never overtly wanted to provide more opportunities for “black, Hispanic and Asian actors,” but Gordone said “it is now very much my thing.”  Their goal was to logically cast actors “so that you don’t insult the work’s integrity.”  Gordone believed “innovative casting enhances the plays,” and makes them so exciting that “it’s almost like you’re seeing them for the first time.”

Charles Gordone, photo by Susan Kouyomjian Gordone, accessed African American Registry.

In a 1988 interview, Gordone continued commenting about the portrayal of race in contemporary literature and theater.  Susan Harris Smith asked if theater critics viewed Gordone as “black first and a writer second?”  He replied “Yes” and commented the practice was “racist.”  He claimed he was a playwright trying to “write about all people . . . and to say I [Gordone] have a black point of view is putting me in a corner.” He believed African-American critics finally reached a “significant realization” about the theme of No Place to Be Somebody, that “if blacks walk willingly into the mainstream without scrutiny their identity will die or they will go mad.”

In 1987, Texas A&M University hired Gordone to teach in the English and Speech Communications Department. There, Gordone began embracing the American-western lifestyle or “cowboy culture.”  The playwright stated, “The West had always represented a welcoming place for those in search of a new life,” and he found a “spirit of newfound personal freedom” within the American West.  Gordone remained in Texas until his death on November 16, 1995.  Friends and family scattered his ashes in a “traditional cowboy ceremony, with a riderless horse” near Spring Creek Ranch, Texas.

Learn more about Gordone via the Indiana Historical Bureau’s historical marker.