Sunday, February 28, 2010

SoCal Black Panthers in New Documentary

[See URL for video clips.]

Southern California Black Panthers Tell Their Stories in A New Documentary

http://www.huffingtonpost.com/anthea-raymond/southern-california-black_b_461678.html

Anthea Raymond
Posted: February 15, 2010

Director Gregory Everett didn't know his father growing up. But he
did know that he had been a Black Panther. Everett would sometimes
mention that when he wanted kids to back off on the playground. And they did.

In 2001 Everett reconciled with his father, and began to work in
earnest on a film about him and the other members of the Southern
California Chapter of the Black Panther Party. The result is 41st and
Central: The Untold Story of the L.A. Panthers . A festival version
of the project premieres Monday, February 15th at the Pan African Fim
Festival.

The Southern California branch of the Black Panther Party was founded
by Alprentice "Bunchy" Carter. Carter was a leader in the Slausons
gang and its spinoff the Slauson Renegades. Carter spent four years
in prison and became a Muslim there. He formed and headed the
Southern California chapter in early 1968. Carter and another Panther
were shot dead in early 1969 on the UCLA campus. Within a year, the
Southern California Chapter was no more.

Everett says he started thinking about the project when he met former
Panther Roland Freeman at community meeting in the early 1990s.
Freeman told him that his mother had kept a scrapbook about the
Southern California Chapter. Those materials would become the
foundation of Everett's search for the elements to bring the Panther
story to life.

Everett went on to interview a number of former Panthers, including
his own father Jeffrey Everett, about the Southern California Party's
founding and philosophy -- especially its commitment to self-defense
and weaponry. In this clip, Jeffrey Everett recalls the August 6,
1969 shoot out at Adams Boulevard and Montclair Avenue where police
killed two Panthers.

Other interviews include eyewitness accounts of the deaths at UCLA,
and the December 9, 1969 shoot out with the LAPD's new SWAT unit at
Panther headquarters at 41st Street and Central Avenue in Los
Angeles. Everett also talks to former LAPD Police Chief Bernard Parks
and members of US, a black nationalist group also prominent in LA at the time.

Everett, whose day job is as a producer for TV One, hopes a
television network will broadcast the project, perhaps as a four-part
mini-series. It's chock full of historic clips that make it costly to
broadcast, so he's still working on the funding. But he's proud that
some LAPD staffers who recently saw the piece liked it.
--

41st and Central: The Untold Story of the L.A. Panthers screens
Monday, February 15, 2010 at 3:30 pm at the Culver Plaza Theatres,
9919 Washington Boulevard, Los Angeles. A panel discussion will
follow. For more info, www.paff.org.

.

A Manuscript Burned At Columbia in 1968

A Manuscript Burned At Columbia in 1968

http://www.rantrave.com/Rant/A-Manuscript-Burned-At-Columbia-in-1968.aspx

2/16/10
by Rudi Stettner

There is a lot of nostalgia for the culture of the sixties. The
music, the art and the news are suitable fodder for the nostalgia
movement. When I see young people wearing clothing with peace signs
on it, I feel like filling them in on the real deal. I have told my
own children of my regret at having taken part in the antiwar
movement back in the sixties.

Promoting antiwar demonstrations was a part of a strategy during the
sixties and seventies by communists in America and abroad to
politically "tie the hands of US imperialism." I used to attend
communist meetings at which that was discussed. When the Young
Socialist Alliance declared a "full mobilisation", the local office
of the National Peace Action Coalition (NPAC) was full of
Trotskyists, young and old stuffing envelopes and answering phones.
The People's Coalition for Peace and Justice (PCPJ) enjoyed strong
support from the Communist Party.

When Pnom Penh and Saigon fell in 1975, everyone knew what happened.
Cambodia turned into a hermit kingdom in which about two million
people were murdered by the Khmer Rouge regime under the notorious
dictator Pol Pot. In Vietnam, thousands of ethnic Chinese were pushed
into leaving Vietnam in rickety boats.

While America went through its turbulence in the sixties, China went
through a catastrophic upheaval, in which radical students trashed
universities and the economy of China was thrown into turmoil. The
goal was to erase memories and records of prerevolutionary China.
Many students sorrowfully remember denouncing their own professors,
destroying library books and other "revolutionary" acts.

America too has its own chapters of shame from the radical sixties.
Does anyone remember Mark Rudd? He was one of the leaders of the
Students for a Democratic Society, which figured in a lot of headline
grabbing campus violence. Back in 1968, when radical students took
over Columbia University, there was considerable vandalism to
university property. There was one particularly saddening episode
that even shamed the SDS at that time. That was the burning of a
manuscript by Columbia University assistant professor Orest A. Ranum,
who angered SDS radicals by sympathising with their aims and
criticising their tactics. During the takeover of Columbia, his
office was broken into. A manuscript representing ten years of
research for a textbook on European history were purposely burned.
The Chronicle of Higher Education describes the loss as follows.

"The papers were irreplaceable. They dated back to Ranum's time as a
student at the University of Minnesota, where he got his Ph.D. in
history. The notes were going to lay the basis for a textbook on
early modern European history that he had been commissioned to write
for a series edited by the British historian Sir John Plumb.

After the papers were burned, Ranum withdrew from the book project
and returned the small advance he had received from the publisher. He
left Columbia for the Johns Hopkins University, where, now 76, he is
an emeritus professor of history and one of the country's best-known
experts on 17th-century France."

In one particularly touching footnote to the burning of Ranum's
manuscript, scholars at the Jewish Theological Seminary who were
working on the Dead Sea Scrolls offered to attempt a reconstruction
of the destroyed manuscript. In his typically self effacing style,
Ranum turned them down out of the conviction that his manuscript was
not important enough.

For years, the thug who burned Professor Ranum's manuscript enjoyed
anonymity. Now, according to the Chronicle of Higher Education, the
name of the perpetrator has been revealed. the Chronicle of Higher
Education reports as follows of the recent revelations in a detail
laden article on the events at Columbia University in 1968.

"SDS has always denied responsibility for burning Ranum's papers. For
more than 38 years, Rudd didn't correct the record. Then, suddenly,
he confessed, saying that only he and Jacobs­who died of skin cancer
12 years ago­knew who burned Ranum's papers, and that both had kept
it a secret from the rest of SDS. In a 2006 speech at Drew
University, Rudd issued a lengthy apologia, not only acknowledging
complicity in the arson but also taking the blame for the strategy
that he believes destroyed the New Left.

Rudd confesses to approving the setting of the fire but denies that
he knew or approved of the burning of Ranum's manuscript. Years
later, Rudd regrets having acted in secret, and not having put the
plans to commit arson in an occupied building up for a vote.

"At Columbia we felt ourselves at war, and once war is declared, the
limit on tactics and weapons gets blurred very quickly. So does the
definition of participatory democracy, on which SDS prided itself,
since it was J.J. and I who made this decision alone, without
democratic consultation of any sort."

Rudd has come clean in speeches and in his book which he is
promoting, "Underground: My Life With SDS and the Weathermen."

My emotions are mixed. On the one hand, Rudd is setting the
historical record straight. On the other hand, he is not doing so
solely out of altruism. The radicals who became household names were
shameless self promoters who knew how to get on the news and on the
television talk shows of that time. Mark Rudd is no different. If he
donates his book royalties to Professor Ranum, or to the cause of
those who were hurt by student radicals, I will believe that he is
sincere. But so far, all I see is that he has cleaned out his filth
encrusted conscience and found something he could wash off and sell.

We should not let the real history of the sixties fade. The memories
of the players in that dramatic time should be encouraged to leave
their memories to posterity. As repulsive as some of them might
indeed still be, we need collective remembrance to guide us in the future.

.

Play honors civil rights leaders

[3 items]

Musical celebrates MLK's life, influence

http://www.mlive.com/entertainment/flint/index.ssf/2010/02/musical_celebrates_mlks_life_i.html

February 11, 2010
By Rene Wheaton

Making sure the life of Martin Luther King Jr. isn't reduced to just
a few lines from his famous "I Have a Dream" speech is just one
mission of the New McCree Theatre's upcoming production "Let Nobody
Turn Me 'Round."

The gospel musical, written by Reuben Yabuku, celebrates the life of
King and the civil rights movement by focusing on his non-violent
movement, the Alabama bus boycott, King's Birmingham, Ala., protest
for equal rights and other events prior to his assassination in 1968.

"It's important that we never lose sight of those that have carried
us thus far, in terms of the struggle for human rights and human
decency," said Charles Winfrey, executive director of the theater.
"This play is really a celebration of the civil rights struggle,
primarily seen through the eyes of the late Dr. Martin Luther King."

The production at McCree marks the first time the play will be
presented outside of Detroit. Performances are scheduled for Feb. 18
through March 6.

"The show was very well-received in Detroit," said the author and
director, Yabuku, who is from Detroit. "We had sell-out audiences,
which we are hoping to replicate here in Flint."

While he would describe the play as a gospel musical, Winfrey said
it's not limited to gospel music. It also features African-American
spirituals, protest songs, excerpts from speeches and actual footage
from the civil rights movement.

Yabuku said he hopes audiences will be both educated and entertained
by the play. He wants the same for younger members of the cast, too.

"We're looking for teachable moments whenever possible," Yabuku said.
"It's important the young people involved understand the message of
the play. We're serious about what we're doing, but at the same time
we want them to have a good time."

Organizers also want the community to know the play is intended for
people of all ethnic backgrounds.

"The play really addresses the idea of struggle," Yabuku said. "The
idea of struggle goes beyond black history. It's our story, but it's
the story of a lot of ethnicities. Martin Luther King Jr. belongs to everyone."

PREVIEW

• What: "Let Nobody Turn Me 'Round," musical by Reuben Yabuku
• Where: "New" McCree Theatre, 5005 Cloverlawn, Flint
• When: Preview shows 8 p.m. Feb. 12-13; regular shows 8 p.m.
Thursdays-Fridays and 3 and 8 p.m. Saturdays Feb. 18-March 6
• Tickets: Preview shows $8 adults ($10 at door), $5 senior citizens
and students ($6 at door); and $10; regular shows $12 adults ($15 at
door), $7 senior citizens and students ($10 at door)
• Info: (810) 787-2200

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Play About King Planned for Broadway

http://www.nytimes.com/2010/02/11/theater/11arts-PLAYABOUTKIN_BRF.html

By PATRICK HEALY; Compiled by DAVE ITZKOFF
Published: February 10, 2010

"The Mountaintop," a two-character play that imagines a surprising
turn of events for the Rev. Dr. Martin Luther King Jr., above, on the
night before his assassination, is aiming for Broadway in the fall,
the producers Jean Doumanian and Sonia Friedman announced Wednesday.
The play, by Katori Hall, received a critically praised production in
London last summer, and the producers said in a statement they were
eager to capitalize on its success by moving ahead on Broadway. They
said they were in negotiations with Kenny Leon to direct; he is
directing the forthcoming revival of August Wilson's "Fences" on
Broadway. Ms. Hall has said in interviews that her inspiration for
the play came partly from her mother, who grew up near the Lorraine
Motel in Memphis, where Dr. King was assassinated, and regretted not
going to hear him speak on the day before he was killed. (He
delivered his "I've Been to the Mountaintop" speech.) The play's
characters are Dr. King and a woman who at first seems to be a hotel
maid. Casting, performance dates and a theater are yet to be announced.

--------

Play honors civil rights leaders

http://www.thenewsstar.com/article/20100207/NEWS01/2070332

February 7, 2010

When one thinks of Black History, two prominent figures stand out as
influential people fighting in their own way for civil rights. One,
of course, is Martin Luther King Jr. and the other is Malcolm X.

To commemorate the lives and work of these important men, assistant
professor in the ULM Division of Theatre and Dance, Kyle Zimmerman,
directs a play called "The Meeting."

The play is about a fictional meeting between Martin Luther King Jr.
and Malcolm X. In real life, Martin Luther King Jr. and Malcolm X
only met once for about a minute before a news conference at the
Senate debate on the Civil Rights Act of 1964.

ULM students Jerry Golden and Milton Crosby play the roles of Martin
Luther King Jr. and Malcolm X, respectively.

"A lot of people don't understand that their views were quite
different," Golden said.

"Martin Luther King Jr. believes in a nonviolent movement and Malcolm
X believes in aggression. They really didn't get along," Crosby said.

Martin Luther King Jr. fought for civil rights through nonviolent
means, whereas, Malcolm X was much more radical. Both men, however,
influenced the public at large and launched the shift toward equal rights.

"The thing I love about this [play] is that they're real characters.
They really existed, and it gives these actors a chance to get into
someone who really existed, to figure out more about their life,"
Zimmerman said.

On the other hand, "There's also that challenge when these guys are
up on stage, people are going to be expecting them to be an icon,"
Zimmerman said.

Not only is performing as these characters a great challenge, but
also a great honor. "I wanted to play Malcolm X because he was a
great icon and great figure in black history," Crosby said.

At first, "There was a big contention because everybody wanted to
play Malcolm X, including me, but I'm white," Zimmerman said.

According to Golden, "He (Zimmerman) made me realize that I'm getting
to participate in something special. Plus, I really enjoy going back
and forth (with Crosby)."

Golden said the most important thing about this play is that the
audience will "get to see Malcolm X's point of view and Martin Luther
King's point of view. The people that were around when Malcolm X and
Martin Luther King were around, it's still in their heads, but our
generation needs a refresher."

Zimmerman said big ideas such as the ones Martin Luther King Jr. and
Malcolm X had get started "through discussion and through dialogue,
and by sharing information, agreeing and disagreeing. Disagreeing is
just as important."

"One of the things that I like about it (the play) is that there's a
lot of conversation, a lot of dialogue," Zimmerman said.

.

Remember the role Malcom X played

[2 items]

Remember the role Malcom X played

http://www.martlet.ca/article/20969-remember-the-role-malcom-x

Feb 11, 2010
Aria Alavi

In Canada and the United States, February is Black History Month. It
remembers the Civil Rights Movement that started 50 years ago in the
U.S by two charismatic black leaders: Martin Luther King Jr. and Malcolm X.

The passage of the Civil Rights Act of 1964 was considered a huge
victory for coloured people.

Sadly, both leaders were assassinated soon after, Malcolm X on Feb.
21, 1965, King on March 29, 1968. But their glorious achievements
live on and are still celebrated today.

Unfortunately, these days most people only celebrate Dr. King and his
role in the black liberation movement. In the past few days, I have
heard many people talk about King's character and charisma, but
little about Malcolm X.

Why is that?

Perhaps it is because many people perceive Malcolm X as a man of
violence who was not for peace and democratic practices. But the
truth is, if it was not for Malcolm X's violent movement in the
1960s, King's movement of solidarity would not have been successful.

In that era, the violence was a necessary response to a society in
which white supremacists purposely discriminated against black people
and remorselessly murdered them with no regard for justice.

The use of violence is not necessary in most places. But, in 1960s,
violence was necessary for the black rights movement.

Undoubtedly, Malcolm X's ultimate goal was to establish and maintain
peace in society, but in a society respectful to all.

In order to have this respectful peace, violence was necessary to
open the eyes of the ordinary white people who excluded people of
colour from their society.

Most whites were not associated with the Klu Klux Klan organization.
However, many did decide to be racist, influenced by the existing
propaganda that referred to blacks as drug lords, criminals and
uneducated people.

Malcolm X simply proved that it was white society that had imposed
the many systematic restraints against the black community.

Violence was necessary to break those restraints, and snap the chain
of slavery and servitude of white supremacy.

Criticizing Malcolm X for his violence and forgetting him as a
passionate leader who sacrificed his life for justice and peace would
not be fair and would not do justice to the struggle of his time.

This Black History Month, let's remember and honour all martyrs of
the liberation movement.

--------

The Autobiography of Malcolm X

http://www.anchorweb.org/arts-entertainment/the-autobiography-of-malcolm-x-1.2145598

By Brandi Jackson
February 9, 2010

Since it is Black History Month, I thought it was appropriate to
review a book that inspired black culture and inspired many young
black men and women around the world.
The book is very inspirational, as it shows what it was like for a
black man to live in America and what it was like for a black Muslim
man to live in America. The book takes you through three phases of
his life. The book starts in Malcolm X's childhood, which is the
first phase in his life in which he experiences true racism within
his family. His father, Earl Little, was a member of the Universal
Negro Improvement Association and his mother, Louise Little, was an
educated woman from the island of Grenada. Malcolm was praised by his
father but disliked by his mother because he was the lightest-skinned
child in his family. He not only had to deal with the racism within
his family but he had to deal with the racism to his family.
The second phase of his life was when he became a young man and got
caught up in the "gangsta" scene, but he did learn a valuable lesson
in his life. He says, "In one sense, we were huddled in there, bonded
together in seeking security and warmth and comfort from each other,
and we didn't know it. All of us ­ who might have probed space, or
cured cancer, or built industries ­ were, instead, black victims of
the white man's American social system."
He learned that black people were the victims of white America's
social system which kept black people in the ghetto and in the
nightclubs seeking comfort from each other without them being even
conscious of it.
The last phase in his life is the one that we are most familiar with,
the Black Muslim leader. His famous quote
"They called me 'a teacher, a fomentor of violence.' I would say
point blank, 'That is a lie. I'm not for wanton violence, I'm for
justice. I feel that if white people were attacked by Negroes ­ if
the forces of law prove unable, or inadequate, or reluctant to
protect those whites from those Negroes ­ then those white people
should protect and defend themselves from those Negroes, using arms
if necessary. And I feel that when the law fails to protect Negroes
from whites' attack then those Negroes should use arms, if necessary,
to defend themselves.'…I am speaking against and my fight is against
white racists. I firmly believe that Negroes have the right to fight
against these racists, by any means that are necessary."
Many people associate Malcolm X with violence when he was as
peaceful as Martin Luther King Jr. He just stated that if the law
will not protect them against the violent actions of the white racist
against the black victims then blacks will have no choice but to
defend themselves by any means necessary. He changed our nation by
his words and he brought to light the Muslim religion.
"The Autobiography of Malcolm X" is a real eye-opener and has made a
big difference in my life. It is was inspired to write and want to
come to college even more than I did. So if you happen to see "The
Autobiography of Malcolm X" sitting on a shelf, pick it up. It may
just change your perspective on life.

.

More recognition for Malcolm X urged

[2 items]

More recognition for Malcolm X urged

http://www.omaha.com/article/20100216/NEWS02/702169828

By John Keenan
February 16, 2010

A veteran of the civil rights movement is urging Omaha to do more to
recognize native son Malcolm X

August "Buddy" Hogan Sr. was speaking Tuesday on the civil rights
movement in Omaha as part of the University of Nebraska at Omaha's
Black History Month observances.

He gave a wide-ranging speech that focused on the roots of the
national civil rights movement -- including the U.S. Supreme Court's
Dred Scott decision -- before narrowing his focus to Omaha.

After talking about the lynching murder of William Brown, the
founding of the Omaha branch of the NAACP and other events, Hogan
related how Malcolm X's family left Omaha because of the Ku Klux
Klan, and he made a pointed call for the city to do more to
memorialize this native son.

"He is among the most notable people ever born in this town. There is
an organization called the Malcolm X Foundation trying to promote the
memory of Malcolm and the work that he did," Hogan said.

"You would think that such a monumental national figure would be a
subject of great pride to all Omahans. We're struggling here and have
been for years to get any recognition for Malcom, because he also was
considered to be a radical and a militant. He was a great human being
who worked for the cause of social justice."

Valerie Thompson, assistant director of cultural programs and student
organizations at the college, said Hogan's presentation was important
to the month's programming.

"We've done the whole, overarching Civil Rights movement, but to
bring it home to the actual community the students currently reside
in was really important," she said.

--------

Posted notes

http://www.freep.com/article/20100211/OPINION05/2110564/1068/opinion/Posted-notes

Feb. 11, 2010

Should there be a monument in Michigan for civil rights leader
Malcolm X, who grew up in Lansing?

• Malcolm was such a polarizing figure. By any means necessary scared
a lot of people. His anti-white rhetoric didn't do him any favors.
The good thing about Malcolm X was that he did evolve throughout his
life, changed his ways, made improvements, and was still seeking a
better understanding. -- gopgoogieman

• Martin Luther King Jr.'s message was directed more at white
establishment of that time -- to bring them to accept blacks as
equals. ... Malcom X's message was directly to the black man -- to
bring them to accept themselves as equal, to be peaceful when treated
with peace and respect, but to meet those who would do them violence
with power and an equal measure of violence. -- wayhix

• Malcolm X does not deserve a statue. He did nothing to help the
civil rights movement. The man couldn't hold a candle to Dr. Martin
Luther King Jr. or Rosa Parks. You don't erase hate with hate. -- jasncondit

• Malcom X worked hard to better identify who we are as African
Americans and give all of us a sense of what we can be as Americans.
This is worth remembering, regardless of his home address! -- jeff9175

• Malcolm X was an impressive man. He grew and evolved throughout his
life, admitted mistakes and was open about his shortcomings (what a
novel concept for leaders). If I had been a black man in the '60s, he
certainly would have gotten my attention. -- raybird1

• I am a black man. I have studied Malcolm X for many decades. My
firm conclusion is that Mr. X was a foolish, ignorant person. --
Thereasonableman

• As fate would have it, Malcolm X was gunned down not long after his
"epiphany," but he did a great deal of damage prior to that. So the
question remains: Whom do you build a monument to -- the guy with the
brief a-ha moment, or the guy who incited racial violence and tension
for years? -- Chrysalis1

• Funny how some blame him for the racial violence and tension. They
were already there, and he didn't start them. ... It was a different
day, and you must view him through that lens. Not saying it was
right, but it was understandable. -- psyche510

• Malcolm X was a racist and violent person, spouting hate. X only
deserves to be remembered in the same way as the KKK or the Nazis. -- Sparty89

• His life exemplifies the definition of progress and evolution. I
most admire Malcolm X during the later years of his life, when we
learned to embrace the brotherhood of all men, regardless of their
religion, culture or ethnicity. Malcolm X eventually found peace
despite the many hardships he had to resolve within himself. -- introvertimages

.

Were King, Malcom X friends?

Kids ask:
Were King, Malcom X friends?

http://www.dailyherald.com/story/?id=357652

By Hope Babowice
2/10/2010

Students in Laura Kuchler's 7th-grade language arts class at West Oak
Middle School in Mundelein asked: "Were Martin Luther King Jr. and
Malcolm X friends?"

Dr. Martin Luther King Jr. and Malcolm X were civil rights leaders in
the late 1950s and early 1960s who worked to allow blacks the same
freedoms that whites enjoyed. At that time, some towns in the south
denied black Americans the right to vote or forced them to pay a tax
if they tried to vote. Other injustices included inadequate schools,
restrictions on where blacks could sit on a bus and oppressive limits
on the way blacks lived.

Dr. King, a fourth-generation Baptist minister, spoke of creating
positive social change through nonviolent means.

"At the center of nonviolence stands the principle of love," he said.

Dr. King directed the Montgomery, Ala., bus boycott, which
successfully brought an end to the policy of forcing black Americans
to defer to whites when selecting seats on busses. That success led
to more nonviolent protests and marches that brought national
awareness to the unfair treatment of blacks. King's leadership and
support drove Congress to pass the Civil Rights Act of 1964 and the
Voting Rights Act of 1965. King was awarded the Nobel Prize in 1964.

Malcolm X, born Malcolm Little, was a Muslim minister and a leader in
the Nation of Islam organization who also fought for equal rights for
black Americans. He believed the nonviolent message was acting too
slow, or not at all, and encouraged his followers to use any tactic -
even violence - to achieve equality. Malcolm X's father was murdered
by white extremists; his childhood home was burned in an unresolved
arson and he was subjected to life in foster care and juvenile homes.
As a member of the Nation of Islam, Malcolm X gained recognition
worldwide as a black leader. He admired Dr. King, sent him letters
and invited him to participate in Nation of Islam meetings.

On March 26, 1964, Dr. King and Malcolm X met for the first and only
time. They were speaking at a Senate debate in support of the
enactment of the 1964 Civil Rights Act, which would outlaw racial
segregation in schools, at work and in public institutions.

About that same time, Malcolm X began to change his views and he left
the Nation of Islam to create his own organization. His new aim was
to develop a brotherhood with blacks and whites. This new goal was
short-lived. Malcolm X was assassinated by three Nation of Islam
members on Feb. 21, 1965. In response to this tragedy, Dr. King wrote
this in a letter dated Feb. 26, 1965, to Malcolm X's widow:

"While we did not always see eye to eye on methods to solve the race
problem, I always had a deep affection for Malcolm and felt that he
had the great ability to put his finger on the existence and root of
the problem."

Even though Dr. King's message was of nonviolence, on April 4, 1968,
Dr. King was shot and killed by an extremist who could not accept the
hard-fought changes that would improve the lives of black Americans.
In recognition of Dr. King's tremendous contribution to civil rights
in our country, construction is underway to build a national memorial
to Dr. Martin Luther King Jr. in Washington, D.C.

Stanford University's Web site "The Dr. Martin Luther King, Jr.,
Research and Education Institute" includes images of a letter and
telegrams written from Malcolm X to Dr. King and a copy of the letter
from Dr. King written to Malcolm X's widow. You can see these and
other items at mlk-kpp01.stanford.edu.
--

Check these out

The Wauconda Area Library suggests these titles on Dr. Martin Luther
King Jr., Malcolm X and the civil rights movement:

• "Extraordinary African-Americans," by Susan Altman

•"Freedom Riders: John Lewis and Jim Zwerg on the Front Lines of the
Civil Rights Movement," by Ann Bausum

• "100 African Americans Who Changed American History," by Chrisanne Beckner

• "Portraits of African-American Heroes," by Tonya Bolden

• "I've Seen the Promised Land: The Life of Dr. Martin Luther King,
Jr," by Walter Dean Myers

• "Malcolm X: A Fire Burning Brightly," by Walter Dean Myers

•"The School is Not White! A True Story of the Civil Rights
Movement," by Doreen Rappaport

• "Child of the Civil Rights Movement" by Paula Young Shelton

.

Freedom Riders followed a road less traveled

[4 articles]

Local Freedom Riders followed a road less traveled

http://www.chicagotribune.com/news/opinion/ct-met-trice-freedomriders-0215-20100214,0,7571086.column

Choices made nearly 50 years ago made a difference for 2 men, America

Dawn Turner Trice
February 15, 2010

On May 4, 1961, an integrated group of "Freedom Riders" left
Washington heading to Louisiana to challenge segregation throughout
the Deep South. After their bus was firebombed in Alabama ­ with them
inside ­ and the Riders nearly were killed, hundreds of others braved
angry mobs to carry out the mission.

Last week, I met two local men who spent the summer of 1961 on a
journey that would change the course of their lives.

Daniel Stevens, 67, a Hyde Park resident, was arrested on July 7,
1961. He was 19 and a student at a small, predominantly white Quaker
college in Ohio. Having known he was gay since he was 14, Stevens,
who is white, told me that before his ride, "I was in a world that
people made for me. Afterward, I realized I could change the world
and remake my own." You can find his story on "Exploring Race" at
chicagotribune.com/race.

But here is Thomas Armstrong III, 68, a retired transportation
contracts manager for the U.S. Postal Service. A 21-year resident of
Naperville, Armstrong, who's black, was arrested on June 23, 1961,
when he was a 19-year­old student at Tougaloo College in Jackson,
Miss. This is his story in his own words:

At Tougaloo, I was a member of the NAACP, SNCC (Student Nonviolent
Coordinating Committee) and CORE (Congress of Racial Equality), which
each had a hand in the Freedom Rides.

The Interstate Commerce Commission had already outlawed segregation
in interstate travel, but the federal government wasn't enforcing it.
After the bus was firebombed in Alabama, a group of Nashville
students continued the ride to Jackson.

We were in Jackson watching intently and praying for the students'
safety. When they arrived at the bus terminal, they were arrested
right as they got off the bus. We knew what jail meant in
Mississippi: You went in, but there was no guarantee that you'd come out.

When some of the Freedom Riders were released, they came to Tougaloo
and asked for support to continue the rides from Jackson to
Louisiana. Two of us joined them. It wasn't a hard decision for me
because the night before, the Mississippi governor had appeared on
television and went on and on about how happy his "niggras" were and
how he had no problems with them. He said it was the outside
agitators causing the problems.

I felt like: "Well, what would you say if there were inside
agitators?" The governor made me so angry because having grown up
here, I knew the condition of blacks in Mississippi. There were
hardly any satisfied black people in Mississippi, not if they were sane.

On June 23, 1961, the two of us went to the Jackson Trailways
station with two tickets to New Orleans. About 20 police officers
stood outside the depot. About 20 more were inside as we walked into
the "Whites Only" waiting room.

The chief of police asked us to leave, saying we were disturbing the
peace. I said, "How?" Other white people were there, and on that
particular day, they actually looked friendly. Everybody was smiling
at us except the police. But he had to uphold the status quo. Not the
law, the status quo.

We were arrested before we got on the bus and were taken to jail. I
spent four days in jail ­ listening to the other Freedom Riders sing
freedom songs and tell stories ­ before the jailer came in and told
me to get out. I had no idea why I was being released. I was prepared
to stay there at least 39 days. According to state law, that was the
length of time they could hold you if you planned to appeal.

I later found out I was released because the NAACP wanted my case to
be part of a class-action desegregation case filed on behalf of
Joseph Broadwater, former president of the Jackson NAACP.

I left Mississippi in 1962 because there were threats to myself and
my family. But until then, I spent the rest of my time making court
appearances and demonstrating in a way that I could be effective, but
not get rearrested.

What did I learn during that time? I learned that freedom is not
just a destination, but a series of stops on a long and winding road.

It wasn't until the landmark legislation Congress passed in 1964 and
1968 prohibiting segregation in public facilities for interstate
travel that many of the Freedom Riders' dreams were fulfilled.
--

dtrice@tribune.com

--------

Another look at the Freedom Riders

http://www.sltrib.com/entertainment/ci_14232678

Sundance documentary » Filmmaker Stanley Nelson screens a story about
the civil-rights movement -- before it was told with capital letters.

By Sean P. Means
Updated: 01/21/2010

Some filmmakers are lucky to get into the Sundance Film Festival once
in a decade. Stanley Nelson has done it seven times in 11 years.

Nelson's first documentary, "The Black Press: Soldiers Without
Swords," debuted at Sundance in 1999. Since then, Nelson, 54, has
brought to Park City documentaries about the early black activist
Marcus Garvey (2000), the aftermath of a lynching murder in the deep
South ("The Murder of Emmett Till," 2003), his family's experiences
in a summer beach community ("A Place of Our Own," 2004), the
Jonestown massacre in Guyana (2006), and the 1973 uprising at Wounded
Knee (2009).

This year, Nelson returns with "Freedom Riders," a look back to the
1961 civil-rights protest in which black and white students rode
commercial buses through the South -- and risked their lives -- to
protest segregation. The documentary will appear in early 2011 on the
PBS series "The American Experience."

What was it about this piece of the civil-rights movement that drew
you to making this film?

It's a story that people think they know, or have heard. But it's a
much more complicated and involving story than they know. It's always
fun to work with that time in history, because you've got witnesses
to it who are still around -- and on the edge of them not being
around. It's great to tell those stories while they're still alive
and vibrant.

It's about the civil-rights movement before it was the Civil Rights
Movement, in capital letters. It's about Martin Luther King before he
became THE Martin Luther King, the Kennedys before they became the
icons that they became. I think that it's interesting to look at all
those people in a different way.

What was the No. 1 thing you wanted to accomplish in telling the story?

As a filmmaker, I knew going in that I wanted to try to tell this
story without narration and use as many witnesses as I could. I also
wanted to get as many different points of view. I didn't want it to
be just the point of view of the Freedom Riders. I think that, most
of the time, people make what they feel are rational decisions and
behave rationally. What would make you want to beat somebody almost
to death because they wanted to sit on a bus together? We really
wanted to get at some of the mindsets of people in the South.

How reticent was Gov. John Patterson of Alabama, who oversaw the
state police during the Freedom Rides, to revisit this story?

I think that Gov. Patterson felt that there was some rationality to
what he did and his opinions at the time. He really wanted to talk
about what led him to make the decisions at the time. ... I know that
he's thought a lot about that time, and I think he wanted to talk
about it himself rather than us talk about him.

Was there any part of this story that surprised you?

The piece about Martin Luther King was surprising. Martin Luther King
has become this otherworldly hero, and Martin Luther King in this
story is very, very human. They asked Martin Luther King twice to
become part of the ride, and he refuses twice to join the ride -- and
the second time he does it in a way that causes some animosity with
the Riders.

It's fascinating to see these people -- King, the Riders and the
Kennedys -- on the road to becoming the icons that they would become.

That was one of the real fascinating things, that not only do the
people who were involved change, but the people on the periphery --
the big people -- changed. The Kennedys changed. Martin Luther King
changed. They didn't come out fully emerged as the people we know
them to be. They were also changed by the times and progressed with the times.

--------

Freedom Riders -- Film Review

http://www.hollywoodreporter.com/hr/film-reviews/freedom-riders-film-review-1004061889.story

By John DeFore
January 25, 2010

Bottom Line: Stirring account of a chapter of the civil rights
struggle not yet over-explored by documentarians.

PARK CITY -- Overcoming the limitations of a familiar format thanks
to the sheer heroism of its tale, "Freedom Riders" digs deep into a
critical chapter of the civil rights struggle and brings it to life
in a plain but stirring way. Though produced for PBS and destined for
a good reception there, it might hold its own in a specialty
theatrical run, particularly as we approach the 50th anniversary of
the events chronicled.

The doc is weakest in the first half hour, where it's unclear we'll
be learning anything new: Countless shots of "Whites Only" signs are
accompanied by a soundtrack sometimes approaching "Unsolved
Mysteries" territory, and although hints are dropped about the scope
of what's to come, the film doesn't quite generate an emotional
interest equal to its moment. It's almost as if, like the small group
of black and white young men and women boarding two buses in May of
1961, it expects their symbolic violation of bus segregation laws to
achieve their aims quickly and with minimum fuss.

That changes dramatically when one of those buses is prevented from
reaching its destination. As it recounts the Anniston, Alabama attack
that left one Greyhound bus a burnt husk and its passengers beaten,
the film's account becomes increasingly vivid.

After hearing about the federal intervention required to get those
first protesters to safety, the decision of a second wave of students
to pick up the torch is stirring -- all the more so because these
riders, Southerners from Tennessee, were so clear-eyed about the
physical threat of racism that each signed his or her will before
getting on board.

Interviews with the riders move the action forward, but much of the
film's gravity comes from those who were observers of or reactors to
their acts. Attorney General Robert Kennedy's assistant John
Seigenthaler, a middleman between federal and state authorities who
wound up getting attacked himself, not only explains
behind-the-scenes negotiations but conveys the awed disbelief with
which the world's most powerful men watched the boldness of a few
nameless activists.

Those young idealists have their moments in these new interviews, as
Diane Nash does when she smiles simply and declares, "We were fresh
troops." But overall, the ordinariness of their presentation here may
be what makes their story so powerful.

Venue: Sundance Film Festival
Production company: A Firelight Media Production for AMERICAN EXPERIENCE
Director: Stanley Nelson
Screenwriter: Stanley Nelson
Book by Raymond Arsenault
Executive producers: Mark Samels
Producers: Stanley Nelson, Laurens Grant
Director of photography: Robert Shepard
Music: Tom Phillips
Editors: Lewis Erskine, Aljernon Tunsil
Sales Agent: Jim Dunford at WGBH
No MPAA rating, 112 minutes

--------

Freedom riders get overdue recognition

http://www.tennessean.com/article/20100209/OPINION02/100208029/1008/OPINION01/Freedom+riders+get+overdue+recognition

February 9, 2010
by Tim Wise

As someone who grew up in Nashville, I always wondered why the city
and its schools (from which I graduated in 1986) paid such little
homage to its civil rights legacy.

As students we took field trips to all kinds of places: The Hermitage
(home of the infamous Indian-killer and ethnic "cleanser" Andrew
Jackson), the War Memorial Building, where we could commemorate,
well, war and even the old Satsuma tea room, because someone thought
it was important. But never did we study the local heroes whose
sit-ins helped bring down formal apartheid in this city and nation.

That Nashville still fails to honor these brave men and women 50
years later, in any concerted way, is historically obscene. I hope
the efforts to remember, teach about and carry on the legacy of these
freedom fighters will finally gain the support of this "progressive" city.

During the civil rights struggle, Nashville thought itself quite a
bit better than other Southern cities: less racist, more enlightened
and intellectual. Yet virtually all the places we considered backward
by comparison are years ahead in remembering their roles in the
freedom movement.

Time to catch up.

.

Participants Recall Civil Rights Sit-Ins

[5 articles]

It's 50 years since the sit in that ignited the sixties

http://sb.city2.org/blogs/rflacks/blog_entries/1544-its-50-years-since-the-sit-in-that-ignited-the-sixties/blog_comments/new

by rflacks
February 04 2010

We're back from an extended trip--to Vietnam and Cambodia. I'll try
to report on that experience here in a few days. but just now I
wanted to take note of the fact that the 'first' lunch counter sit-in
occurred 50 years ago this week. It was the action by 4 black
students at North Carolina A & T on the afternoon of February 1, 1960
that I refer to. It wasn't really the first such action--small groups
of black and white activists had made similar forays in other
southern towns in prior years. But the Greensboro act was the one
that made history.

First of all, the fact that these students sat down at a segregated
lunch counter, ordered coffee, were refused and harassed--all this
appeared on TV. The next day they were joined by a couple of dozen
others, and within days lunch counters at five and dime stores across
the South were besieged by black kids ordering beverages in violation
of local law and/or custom. The structure of southern segregation
was made to crumble by this simple, everyday move of students' bodies
into banned space--a move covered in the world media.

These sit-ins were the spark that ignited the mass southern freedom
movement, for they were followed by similar moves into other banned
spaces: freedom riders on segregated buses, freedom swimmers in
segregated pools, freedom shoppers, freedom voters. Mass marches of
children that filled local jails or were dispersed by fire hoses and
snarling dogs and cattle prods. The vulnerability of segregation of
public facilities is that it can be broken by these simple acts of
bodily transgression. And it's the nature of mass movement that when
a powerfully policed institution is shown to be vulnerable, large
numbers of people see the chance to pour through the cracks even when
they risk jail and violent reprisal.

Due notice has been taken of the anniversary, most notably by the
conversion of the original lunch counter in Greensboro into a civil
rights museum. But not enough notice, I feel, given the
momentousness of the original happening.

Here's what deserves more recognition:

1. The four sit-inners acted on their own out of their own intense
conversations about how they could make a difference in the world.
And their act showed how a small number of people, acting creatively,
can make history--can short circuit the conventional circuits of
politicking. And their act showed the power of nom-violent direct
action when creatively directed.

2. Their act was magnified not only by TV but more importantly by a
web of social networks throughout the south that enabled the sit in
to be replicated hundreds of times by tens of thousands of young
people within a short time. Beneath the radar of mass media
attention, the black communities of the south had been constructing
any number of ways to connect and mobilize.

3. The sit-ins created a white student movement in parallel. Because
the sit-ins occurred in southern franchises of national chain stores,
many of us in northern cities and college towns could picket our
local branches of these chains. The sympathetic picketing of
Woolworths and Kresges was the occasion for socially concerned white
kids to meet each other--ad from these meetings the white student new
left was born.

4. it wasn't just the chance to meet but the moral imperative that
southern injustice placed on relatively privileged white students
that impelled such new commitment. And it ws the example, the
suffering and the apparent purity of the southern students that
inspired us further.

if there is any single act that made 'the sixties' possible--i.e.
that made it possible for a lot of young people to believe that the
world could be changed through our own self-action and creativity, it
was the sit-in in Greensboro on 2/1/60 that served.

--------

Group marks anniversary of Nashville sit-ins

http://www.tennessean.com/article/20100214/NEWS01/2140342/Group+marks+anniversary+of+Nashville+sit-ins

February 14, 2010

Panelists observing Saturday's 50th anniversary of the sit-in
movement that would integrate Nashville's lunch counters remembered
the college students who led the protest.

"This nation owes a lot to Nashville and the students of Nashville,"
Rip Patton, one of those student demonstrators, said during a panel
discussion Friday.

"They went all throughout the nation, making people aware of the
movement and what was going on."

Many went on to become civil rights leaders across the South.

Fisk University student Diane Nash helped found the Student
Nonviolent Coordinating Committee.

John Lewis, a student at American Baptist Theological Seminary, now
American Baptist College, was another founding member of SNCC, a
speaker at the 1963 March on Washington and a leader of the
Selma-to-Montgomery voting rights marches. He is now a Georgia congressman.

The Rev. James Lawson became a Methodist pastor in Memphis, where he
led the sanitation workers' strike that in 1968 brought the Rev.
Martin Luther King Jr. to town, where he was assassinated.

Lawson is now a distinguished professor at Vanderbilt University. In
1959, he was a divinity student there who trained students at several
of Nashville's black colleges in nonviolent civil disobedience.

The students began sit-ins at downtown lunch counters on Feb. 13,
1960. That May, Nashville became the first major Southern city to
begin the desegregation of its public facilities.

Friday's session on the sit-ins was held at the First Amendment Center.

--------

Leaders mark 50th anniversary of Nashville sit-ins

http://www.sfltimes.com/index.php?option=com_content&task=view&id=3915&Itemid=199

by TRAVIS LOLLER
February 15, 2010

NASHVILLE, Tenn. (AP) _ Civil rights leaders observing Saturday's
50th anniversary of the sit-in movement that would integrate
Nashville's lunch counters said that group of college students went
on to become civil rights leaders across the South.

``This nation owes a lot to Nashville and the students of
Nashville,'' Rip Patton, one of those student demonstrators, said
during a Friday panel discussion. ``They went all throughout the
nation making people aware of the movement and what was going on.''

Fisk University student Diane Nash went on to help found the Student
Nonviolent Coordinating Committee. John Lewis, a student at American
Baptist Theological Seminary, now American Baptist College, was
another founding member, a principle speaker at the 1963 March on
Washington and a leader of the Selma-to-Montgomery voting rights
marches. He is now a Georgia congressman.

The Rev. James Lawson became a Methodist pastor in Memphis, where he
led the sanitation workers' strike that in 1968 brought the Rev.
Martin Luther King Jr. to town, where he was assassinated.

Lawson is now a distinguished professor at Vanderbilt University. In
1959, he was a divinity student there who began training other
students at several of Nashville's black colleges in nonviolent civil
disobedience.

After five or six months of training, the students began sit-ins at
Nashville's downtown lunch counters on Feb. 13, 1960. Over the next
two months, the sit-ins continued and a boycott of downtown
businesses began. Then early on April 19, a bomb damaged the home of
a black attorney who had supported the students. That day, a group of
at least 3,000 people gathered for a silent march to the plaza near
City Hall where they met Mayor Ben West.

In the ensuing dialogue, West admitted he thought segregation was
morally wrong and the lunch counters should be desegregated.
Negotiations with business owners followed over the next few weeks,
and on May 10, Nashville became the first major Southern city to
begin the desegregation of its public facilities, historian Linda
Wynn of the Tennessee Historical Commission said in an interview.

The success of Nashville's highly organized movement was both a model
and an inspiration to other cities, Wynn said.

``The story of Nashville's impact, I've not seen anywhere in writing
yet,'' Lawson said Friday. But the Freedom Rides would have ended
with the first group of beaten, demoralized riders who decided they
could not go on, if it had not been for the Nashville students.

The Freedom Rides were bus trips designed to challenge segregation in
areas of the deep South that were unwilling to accept a Supreme Court
ruling that found the segregation of interstate travel facilities _
such as bus station waiting areas, restrooms and restaurants _ to be illegal.

The first bus was stopped in Alabama, where the riders were badly
beaten and voted not to continue.

``Because of our emphasis on nonviolence, we knew the Freedom Rides
could not be stopped by the Klan and the white citizens movement,''
Lawson said.

John Siegenthaler, founder of the First Amendment Center, which
hosted the panel, and former reporter and editor at The Tennessean,
was working for Robert Kennedy when Nash called to say Nashville
students were organizing more Freedom Rides.

``I said, 'Please don't do this. You're going to get somebody
killed,''' Siegenthaler recalled. ``And she said, 'We signed our
wills last night.'''

--------

Participants Recall Civil Rights Sit-Ins

http://www.thesnaponline.com/local/local_story_042103633.html

February 11, 2010

In 1957 Virginia Williams and six other African Americans sat in the
"White Only" side of the Royal Ice Cream Company in Durham. After
refusing to leave, they were arrested on trespassing charges. The
sit-in took place nearly three years before the historic Greensboro
sit-in on Feb. 1, 1960, at the F.W. Woolworth store and sparked a
national Civil Rights movement.

On Saturday, Feb. 20, Williams and two other participants in 1960
sit-ins in Greensboro and Raleigh will share their stories at the
N.C. Museum of History in Raleigh. Joining Williams are Dr. Herman
Thomas, who organized student sit-ins that occurred in Greensboro
after Feb. 1, and Barbara Woodhouse, who was arrested during a
student protest at Raleigh's Cameron Village on Feb. 12, 1960. They
will take part in a panel discussion and a Q&A session following a
screening of the award-winning documentary "February One: The Story
of the Greensboro Four."Rebecca Cerese, filmmaker and producer of
"February One," will join the discussion. The program is from 3 to
4:30 p.m., and admission is free.

"February One" chronicles the events of Feb. 1, 1960, when four black
freshmen from the Agricultural and Technical College of North
Carolina (now North Carolina A&T State University) sat down at a
whites-only lunch counter in downtown Greensboro. Their actions
served as a blueprint for other nonviolent civil rights protests
across the South and the nation.

More information about the panel participants follows.

Williams was the first person arrested during the protest at the
Durham ice-cream parlor on June 23, 1957. The young African Americans
planned the sit-in with Rev. Douglas Moore, pastor of Asbury Temple
Methodist Church. The protest led to a court cast testing the
legality of segregated facilities.

Thomas, a close friend and fellow student of the four freshmen who
participated in the Feb. 1 sit-in, coordinated thousands of
demonstrators for sit-ins in Greensboro after Feb. 1. He was a member
of the Student Nonviolent Coordinating Committee. Recently retired,
he served as vice-president for academic affairs at Shaw University
in Raleigh.

Woodhouse was a freshman at St. Augustine's College in Raleigh when
she was arrested during a sit-down protest at Raleigh's Cameron
Village shopping center on Feb. 12, 1960. Forty-three students were
charged with trespassing while standing on privately owned sidewalks
in front of the F.W. Woolworth store at the shopping center.
Woodhouse currently resides in Virginia.

Cerese is an award-winning filmmaker who has worked for Video Dialog
Inc., a Durham-based production company, for 11 years. "February One"
aired nationally on PBS in February 2005 to mark the 45th anniversary
of the sit-in. The film was recently shown at the National Museum of
American History, Smithsonian Institution, as part of a program
marking the 50th anniversary of the sit-ins. "February One" won Best
Documentary at the Carolina Film and Video Festival and received the
Human Rights Award at the RiverRun International Film Festival.

For more details, call 919-807-7900 or access ncmuseumofhistory.org
or Facebook®. The museum is located at 5 E. Edenton St., across from
the State Capitol.
--

The N.C. Museum of History's hours are Monday through Saturday, 9
a.m. to 5 p.m., and Sunday, noon to 5 p.m. Admission is free. The
museum is part of the Division of State History Museums, Office of
Archives and History, an agency of the N.C. Department of Cultural
Resources. The department's Web site is www.ncculture.com.

--------

Lunch counter sit-ins: 50 years later

http://hamptonroads.com/2010/02/lunch-counter-sitins-50-years-later

By Denise Watson Batts
February 15, 2010

The four North Carolina A&T College students didn't know they had
started a movement on Feb. 1, 1960, when they sat at a lunch counter
in Greensboro, ordered coffee, were told no and refused to move.

But within days, Sandra Fenner and other students at the Norfolk
Division of Virginia State College had begun plotting. They would
enter the downtown F.W. Woolworth dime store on Lincoln's birthday,
take seats there and wait to be served.

Across the Chesapeake Bay to the north, Lula Sears Rogers and other
freshmen at Hampton Institute talked of commandeering seats at a
department-store counter on Queen Street.

Across the Elizabeth River to the west, 17-year-old Ed Rodman
listened to his classmates chatter about testing the whites-only
policy at MidCity Shopping Center. He thought his friends at I.C.
Norcom High School in Portsmouth were crazy, but he knew their frustration.

A year earlier, Norfolk schools had finally admitted the first blacks
into its previously all-white public schools. In Portsmouth, students
still were waiting.

It wasn't illegal for blacks and whites to sit and eat together, but
custom - and prejudice - dictated that it couldn't happen at public
lunch counters.

Six years after the landmark Supreme Court decision declaring
segregated schools unconstitutional, youths in Hampton Roads and
throughout the South were disappointed with the sluggish pace of
integration. Separately, they had arrived at the same conclusion:
They had had enough.

Students at Hampton Institute, now Hampton University, were the first
in Virginia to execute a plan.

Around lunchtime on Feb. 11, 1960, 20 to 30 took stools at Woolworth
on Queen Street and sat - unserved - until the counter closed about
an hour later. The next day, they did the same thing at a drugstore.

Though scared, Rogers soon joined them. She had been a senior at
Booker T. Washington High School in Norfolk when the city had closed,
rather than integrate, schools, and she remembered the harassments
hurled at black students by whites.

She and her classmates walked to downtown Hampton, the men wearing
ties and the women in neat skirts to give store managers one less
reason to throw them out. They visited Langley Sweet Shop, West End
Pharmacy and C&L Confectionery.

Sometimes, Rogers got a seat. If the stools were filled, she'd stand.
Always, the waitresses seemed rude. What hurt her more was the look
of the black workers behind the counters.

They peeked out at the college students and seemed to plead, "Please,
go away. You're making it hard for us."

Rogers felt compelled to continue. On weekends, she'd return home and
join the Norfolk protests, which had gotten under way a day after Hampton's.

At 5:30 p.m. Friday, Feb. 12, a lone Norfolk college student strolled
into the Woolworth on Granby Street. Soon after, he was joined by 37
others from the Norfolk Division of Virginia State College, now
Norfolk State University.

White customers left, and the closed signs went up at

5:45. The students stayed for 25 more minutes.

The next day, they returned, but Woolworth had roped off its lunch
counter. The students pressed on at another nearby store, S.S.
Kresge. In the days ahead, they would add a third target: W.T. Grant.

Fenner, a history major, said she didn't really want to eat downtown
and probably wouldn't have had enough money if a waitress had ever
offered to serve her.

It was the principle.

In Portsmouth, I.C. Norcom students crossed the street to Rose's
5-10-25 Cents Store on the same day that the protests began in Norfolk.

Eighteen took seats. Waitresses ignored them, but they didn't budge.

They went to MidCity Shopping Center on Monday and faced a few hecklers.

Tuesday afternoon, they arrived at Rose's and found the counter
occupied by white teens.

Rodman filled with dread. Things often got heated when students from
Wilson, the nearby white school, and Norcom, the black school, crossed paths.

This time was no different. The crowd, on the verge of becoming a
mob, spilled into the parking lot. The white students pulled out
hammers and pipes. A black teen got slammed in the face with a chain,
and a girl was hit with a street sign.

A group of black teens grabbed a chain and beat a knot of white students.

The fights ended quickly, and Rodman found himself the spokesman for
the Norcom students.

"There were just 25 of us to begin with," he told reporters at the
time, "and then this other element joined us."

He said students didn't care about eating at the counter.

"We just want the right to come here," he said.

The next day, the three MidCity stores with lunch counters closed
early in the afternoon, but by 3:30, about 3,000 people milled
between the Norcom school grounds and the parking lot.

Police officers with dogs stood ready, and teachers and coaches
mingled to keep tempers low.

No fights broke out, but nearly 30 people - adults and teens, whites
and blacks - were arrested for disorderly conduct. The crowd
dispersed around 5 p.m., and two stores - Rose's and W.T. Grant -
announced that they would suspend their food service temporarily.
Peoples Drug Store said it would start closing its counter about the
time schools let out.

Rodman knew his group of student protesters needed guidance. Within a
day, they had it.

Gordon Carey, a field secretary for the Congress of Racial Equality,
or CORE, lent a hand.

CORE, based in New York, grew out of a Chicago sit-in in 1942, around
the time many of the current protesters had been born.

Carey met with the Portsmouth students and helped them develop a
strategy that included moving the sit-ins downtown. The students
would go into a store, ask to be served, wait to be refused, then go
outside and distribute fliers asking people to boycott.

During a lunch break from the training, the students walked to
Woolworth on High Street to test their new skills. As expected, the
counter closed quickly. The students were excited. That had been
another part of the plan.

If they could not eat, no one else would either.

Over the next two weeks, the protests spread. Elizabeth City, N.C.
Suffolk. Richmond. By the end of February, sit-ins swept through more
than 30 communities in seven states.

In March, Time magazine published an article, "The South: Youth Will
Be Served," and wrote, "The young Negro, particularly the young
college Negro, is now leading the battle for equal rights. And unless
he is tossed into jail and onto a road gang, he is going to lead the
battle for a long time to come."

Hampton students celebrated an expensive victory. The Langley Sweet
Shop, for a brief time, served them but charged them double: $1 for a
cup of coffee and $1.50 for barbecue.

A sit-in in Nashville, Tenn., became a near riot, and stores there
began talking about relenting. Nationally, CORE and, later, U.S.
attorney general William Rogers began negotiating with chain stores
about integrating their lunch counters.

In late July, local store managers of Kresge, Woolworth and Grant
contacted a handful of black ministers and invited them to eat at
their lunch counters.

Some college and high school students learned about the plan and
rushed to join their elders in a victory the students thought was theirs.

It was a quiet, uneventful meal.

After six months, the sit-ins ended unceremoniously. Several chains
integrated their lunch counters, but others did not - and would not
until the passage of the Civil Rights Act of 1964.

By mid-1960, most protesters had returned to their studies and more
quiet lives. But their actions had galvanized the civil rights movement.

Rogers went on to become a speech pathologist. She retired from
Portsmouth Public Schools and lives in Chesapeake.

Fenner retired as an administrator from the Chesapeake Public Schools
and resides in Virginia Beach. Though she helped make it possible,
she didn't eat at a downtown lunch counter until around 1970.

During the height of the protests, Rodman went to Raleigh, N.C., and
met with other student leaders. Together, they formed the Student
Nonviolent Coordinating Committee, or SNCC. He later attended Hampton
Institute and continued to lead demonstrations.

Rodman remained active in SNCC and CORE and later attended the
Episcopal Theological School in Cambridge, Mass.

An Episcopal priest, he now teaches there. The church, he said, lent
clout and legitimacy to his social justice platform, though he thinks
his mother went to her grave questioning why he joined the priesthood.

"She probably thought, 'He's got an angle,' " Rodman said. "And I did."

He noted that he has held only three jobs in his life, and all
involved social activism.

"You can't ask for anything better than that."

Denise Watson Batts, (757) 446-2504, denise.batts@pilotonline.com

.

Civil rights vets share experiences

[2 articles]

Civil rights vets share experiences

http://www.hattiesburgamerican.com/article/20100210/NEWS01/2100340

ED KEMP
ekemp@hattiesburgamerican.com
February 10, 2010

With backgrounds that could not have been more different, two
veterans of the 1960s civil rights struggle shared the podium during
a lecture Tuesday night at the University of Southern Mississippi.

Hosted by the Center for Black Studies and held in the Polymer
Science Auditorium, the lecture featured Bob Zellner, a civil rights
scholar from a family of Ku Klux Klan members, and Harold Taylor, a
former member of the Black Panthers.

During the course of the evening, both men both challenged
commonly-held views about that turbulent time period.

Taylor, 61, described his experience in the Black Panther movement as
one rooted in education and service in the form of health care and
free breakfast programs to the oppressed black community.

He assigned blame for the era's violence on the police, who occupied
South Central Los Angeles like an "occupying army" and on the FBI's
covert COINTELPRO program.

"We never declared war. They declared war on us," he said.

Taylor bumped heads repeatedly against the law.

Born in Los Angeles and recruited into the Black Panthers at age 19,
he was shot six times in a gun fight with police.

He also was one of eight Black Panthers arrested in 2007 for the
murder of a 1971 police officer. Charges against all but one of the
Panthers have since been dismissed.

"My fight was civil rights. I chose to fight for human rights in this
country," he said.

Zellner, 70, whose life story is currently being filmed by executive
producer Spike Lee, said the quest for civil rights was about more
than just race. Segregation was in place to keep up a "white ruling
class" that kept both poor whites and blacks under foot, he said.

Zellner's father and grandfather were both members of the KKK.
Zellner's shift away from his KKK roots began when his father left
the organization and gained speed during college in the early 1960s
when he met Rosa Parks and Martin Luther King Jr. He joined the
Student Nonviolent Coordinating Committee (SNCC) as a result.

During the course of the 1960s, he was arrested 18 times in seven
different states, he said. During a 36-month span, five of his SNCC
colleagues were killed while the federal government stood by and
offered no protection to civil rights workers.

Zellner explained the title to his book "The Wrong Side of Murder
Creek, A White Southerner in the Freedom Movement," which Lee is
producing as a film called "Son of the South."

He was born in a town called East Brewton that was separated from
Brewton by Murder Creek dividing rich and poor. The experience of
being born on the wrong side of the creek, he said, led him to
sympathize with all poor people, both black and white.

"They talk about white privilege and how whites won with segregation.
I always say no, 'We lost in terms of good schools, decent pay,
decent medical care.'"

--------

Speakers encourage students

http://www.studentprintz.com/speakers-encourage-students-1.1124915

By Ross Ewing
February 11, 2010

"It takes a small and vocal minority to start a revolution," civil
rights activist Bob Zellner said Tuesday.

Zellner, a member of the Student Nonviolent Coordinating Committee,
and Harold Taylor, a former member of the Black Panther party, came
to Hattiesburg Tuesday night to speak about their participation in
the civil rights movement and how the success of the movement has
changed the nation.

Zellner, a descendant from multiple generations of Ku Klux Klan
members, was the first to speak at the Shelby Thames Polymer Science
Building. He said a major factor of becoming who he is was his
father's decision to leave the Klan.

"My father went to Europe to save the Jews, but they ended up saving
him," Zellner said of his father's experience in realizing that
people of different races and religions could still be good people.

Zellner was an early member of SNCC, an organization that is credited
with many advances in the civil rights movement such as sit-ins to
integrate lunch counters and the Mississippi Freedom Summer, a 1964
drive to register black Mississippians to vote.

Zellner also discussed nearly being lynched at his first civil rights
rally in McComb, but was spared because one of the Klansmen was a
former classmate of his and the Klan decided that maybe "it" should
be done by someone who didn't know him. Zellner escaped that night
with his life but was violently beaten for the first of many times in
his civil rights career. He was also arrested 18 times in 7 states.

Taylor spoke positively of his experience with the Black Panthers,
saying that popular portrayals of the party have been misleading.

The Black Panthers were founded in 1966 in response to perceived
failures of the non-violent civil rights movement to protect black
communities, and to respond to the violent threats of police force.

"We would give free breakfasts to children, deliver groceries for the
elderly, and hold food and clothing drives for the needy," Taylor said.

He added that the Panthers never declared war and that "they declared
war on us," echoing the sentiments of USM black studies professor
Curtis Austin, who started the night by saying, "Non-violent direct
action often results in beating."

Taylor blamed the violence of the era on the police and the federal
government, saying the Panthers were just protecting their
communities and themselves. USM student John Rubisoff said after the
speech, "I honestly never realized that the Black Panthers did so
many things for the community, I always thought they were a violent
and negative off-shoot of the civil rights movement."

Another USM student, Kyle Moor, was skeptical.

"I think it is a little misleading to imply that the Black Panthers
were all about charity and helping the needy. I am sure they did
some great things but they still did some pretty violent things as
well," Moor said. "Taylor barely even mentioned the shooting of the
police officer that he was implicated in and later cleared of."

Moor was referring to the 1971 shooting of a San Francisco police
officer that Taylor was implicated in but later cleared of any
wrongdoing. In his speech Taylor admitted to being present at the
shooting but said he had his head turned at the moment, seeing only a
flash of light before a gun fight erupted between the Panthers and
the police. Two members of the Black Panthers - Herman Bell and
Jalil Muntaquim - were later convicted of the crime.

"For segregation to work, the victims had to cooperate as well",
Zellner said." The South at that time was essentially a police state
where neither black people nor poor whites had any rights, and a few
of us saw that was wrong and were willing to die to change that."

As Zellner wrapped up for the evening he noted that, "I can see that
Mississippi has come a long way, and I challenge you all to continue
rising up!"

A movie based on Zellners memoir, "The wrong side of Murder Creek,"
is currently being produced by Spike Lee.

.

Getting to know the age of Aquarius [HAIR]

[4 articles]

"Hair:" Peace and love spread beyond the stage

http://mainecampus.com/2010/02/08/hair-peace-and-love-spread-beyond-the-stage/?ref=hp

By Maddy Glover
February 8th, 2010

For those performing in and producing the tribal love-rock musical
"Hair," it could not be a better time. Riding on last year's exciting
Broadway success, the musical's revival has been adapted for a
University of Maine audience. Despite differences in generation and
perspective, all involved share an intense love for the musical
production and its message.

"[It's] anything but a relic," Director Marcia Douglas said. She
explained that the 2009 revival was merely a continuation of the
show's original international success, having more than 35 tourings
within its first decade.

"Sometimes you have to do a show like that, especially in a time like
right now," said UMaine student actor Justin Zang, "We're in a time
of a despair; we're at war with different countries. It's an eye
opener, it really is."

Zang acknowledged the mature thematic nature of the show, citing
nudity and depictions of drug use.

Debuting in 1967, the show focuses on Claude ­ played by Zang ­ a
college dropout who has just received his draft card for the Vietnam War.

"There's that constant tearing going on," said Zang of the decision
his character must make, to follow the revolutionary youth ideology
of the era and avoid conscription, or to conform to the wishes of his
parents and traditional American patriotism.

The crux of the plot ­ Claude's decision to join his "Age of
Aquarius" friends in burning his draft card or to comply with his
conservative parents' beliefs ­ is truly told through the tribe, a
group of 31 peers exemplifying the hippie counterculture and sexual
revolution of the era.

"It's loosely based on his decision at the time," Zang said.
"Everyone's burning their draft card. [They're] being called to the
draft and not showing up."

He explained that there was a five-year prison sentence, as well as
the possibility of a fine for draft-dodging.

"The real main character is the tribe itself," Zang said. "We all
really work as a unit. It's been the most interesting show for me."

Zang said he enjoyed the lack of clichéd characters, like the bad guy
or the unattainable girl, in comparison with past productions he's
performed in. "Hair" is Zang's first UMaine production. A Wiscasset
native, he performed with the Heartwood Regional Theater Company in
high school and has always loved theater, despite being a music
education major at UMaine.

The holistic feeling of the tribe pervades the entire production,
winding between the cast, orchestra and audience ­ cast members
prance down Hauck Auditorium aisles, pausing to jump on a chair,
pelvic thrusting to the beat in front of the nearest audience member.

"Since I've been doing music direction, this is the show I've always
wanted to do," music director Danny Williams said. "I think it's a
great show for college students to both perform and to see."

Williams is a big fan of the production himself, having seen the
Broadway show twice ­ in March and September of last year. "Hair" won
both a Tony Award for Best Revival of a Musical, and a Drama Desk
Award last year.

The "stupendous music," as described by Williams, frames the brightly
swirling lighting and era-appropriate costumes, transforming Hauck
Auditorium into the tribe's world, controversy and all. The tribe
irreverently folds the American flag during the twangy "Don't Put it
Down" and lets loose during the ritualistic burning of draft cards to
the "Hare Krishna" mantra. The UMaine production will even include
the infamous nude scene at the end of act one.

Williams acknowledged the variability of the show, saying that the
lack of structure and rigidity reflects the times.

"The orchestra is given the basics, and they make up the rest,"
Williams said. "Really it's up to the actor to breathe life into the
characters. In some shows, that would be very inappropriate, but in
this show, it is exactly what is required."

According to Williams, approximately 85 percent of the musical is
song. He stressed the importance of the ensemble performance, saying
that the show is not a usual "book musical."

"The music, score, singing really are the heart and soul of the
piece," Williams said. He feels the production was well-conceived and
well-written, and that the music is the message.

"I love it, I really love it," Douglas said. Hair "comes from a time
period when I was growing up and turning into who I've become. It
speaks to me because I've experienced what is in the play at the time
it was actually going on."

Douglas explained an unanticipated challenge she faced during
preliminary rehearsals: a lack of cultural understanding. Realizing
that none of the actors were alive during that era, she cultivated
the necessary understanding by asking actors to interview family
members over holiday break, who were alive during the late 1960s.

Actors reported their findings to the group when they returned a week
early to UMaine for intensive trust-building and improvisational
exercises, in addition to regularly scheduled rehearsals. Zang spoke
of the chemistry between cast members, and the original hesitation
between theater and music majors to commingle. This hesitation did
not last long.

"I think that helped make it personal for them, hearing it from their
own family members," Douglas said. "If we're ever going to grow up as
a human race, [we need to understand that] there are different ways
to deal with conflict. Violence is not the only way ­ that's what
this musical is about."

"We've developed a kind of trust and a group ethos that is really at
the heart of the show," Douglas said.
--

"Hair" opens Friday in Hauck Auditorium and runs Feb. 12, 13, 14, 18,
19 and 20 at 7:30 p.m. and Feb. 14 and 21 at 2 p.m.

--------

Getting to know the age of Aquarius

http://www.bangordailynews.com/detail/136439.html

Students familiarize themselves with '60s culture for UMaine
production of 'Hair'

By Emily Burnham
2/9/10

When rehearsals began over winter break for the University of Maine
School of Performing Arts' production of "Hair," director Marcia
Douglas began writing notes. For a show that's almost nonstop
singing, even she didn't realize quite how many now-archaic 1960s
references would go over the heads of her cast ­ the average age of
which is around 21.

By the beginning of February, she'd amassed multiple pages of notes,
reminding her to explain to them about IRT, APC, A&P and even Timothy
Leary, dearie.

"I was around for all of it, so I knew it. But once you really start
looking at the lyrics, you realize that most kids today don't know
who Ram Das is, or what Rinso White is, or even the significance of
burning your draft card," said Douglas, a theater professor at
UMaine. "I was really shocked by what they didn't know. But then
again, they were all born 20 years after all this took place."

"Hair," which will open at 7:30 p.m. Friday, Feb. 12, at Hauck
Auditorium on the UM campus, is an American musical theater classic,
and an important reflection of the history of the 1960s. Despite it
being tied permanently to the hippie movement, "Hair" is about a lot
more than just sex, drugs and old pop culture references. It's about
finding yourself, and figuring out what really makes the world tick ­
not just what your parents, your teachers and the government tell you.

"At its core, 'Hair' is about people in their teens and 20s
discovering that most of the stuff that adults had told them all
their lives was not true," said Douglas, who last directed "Bat Boy"
at UMaine in 2007. "For a few years in the '60s, a lot of people
began to question authority. That's where that phrase comes from.
They saw that something was seriously wrong with the way adults told
them the world was. That is what makes 'Hair' stay relevant, after
all the years. There will always be young people who begin to figure
out the world for themselves."

The story of Claude, Berger, Sheila, Hud and the peace-loving,
mystical, wild-eyed Tribe of free spirits is told by a cast of 31
University of Maine students, who make up one of the strongest vocal
casts music director Danny Williams said he's ever worked with.
Nearly everyone is onstage for the entire show, hanging out in the
open, warehouse-style set designed by Dan Bilodeau. While there are a
handful of larger singing roles with more developed characters, the
true lead character in the show is the Tribe itself.

"It is continuous music, and it is a real workout for the singers.
There are 31 people singing constantly. They're exhausted by the time
the show is over," said Williams. "But in 15 years of music
directing, these are the best singers I've ever had to work with. We
have wonderful male voices, which is always a challenge. It sounds fantastic."

"Hair" had its original Off-Broadway debut in 1967, in the middle of
the Summer of Love. In that year, protests against the Vietnam War
were held in cities across the nation. Jimi Hendrix, The Doors and
Pink Floyd released their first albums. The Human Be-In, held in San
Francisco, attracted more than 20,000 people to meditate, dance and
protest the war. "Hair" is as much a part of that as the Monterey Pop
Festival and LBJ, FBI, CIA and LSD.

Ultimately, the show is both a historical document and a call to
action ­ which are both reasons Douglas chose "Hair" as this year's
musical production at UM. Some things change, but some things will
always stay the same.

"There are other ways to solve problems, other than wars. There will
always be people who want to find a better way to do things," said
Douglas. "Peace doesn't go out of style."

The music and message of "Hair" struck a chord with contemporary
theater audiences just last year. A number of UM cast members
traveled to New York City last year to see the popular Tony
Award-winning revival of the show, still running on Broadway. While
nearly everyone in the cast had heard the pop hits "Age of Aquarius"
and "Let the Sun Shine In," few of them were familiar with the rest
of the show's music before being cast.

"I'd never seen or heard it in any way, besides 'Age of Aquarius,"
said Kirsten Johansen, a 20-year-old English education major, who
sings one of the solos in 'Age of Aquarius.' "I knew it was a musical
about the '60s, and that's pretty much it. But I see a lot more than
just that now. It is about a lot more than just that."

English major Sarah Mann, 21, has developed close friendships with
many of her cast members over the course of the rehearsal process.
Mann feels like a part of a tribe ­ not just as a character in a
show, but as a person sharing a special experience with other
like-minded people.

"I think because of the nature of the show, we've all grown really
close during the whole process," said Mann. "The whole vibe just rubs
off on you. And by the end of the show, we invite everyone in the
audience to join the tribe as well. It makes you feel really open and
accepting. You kind of get the whole free love thing. You want to
find your own tribe. I kind of feel like I have my own."
--

"Hair" opens at 7:30 p.m. Friday, Feb. 12, at Hauck Auditorium on the
University of Maine campus. The show is intended for mature
audiences. Performances are set for 7:30 p.m. Feb. 13, 14, 18, 19 and
20, and at 2 p.m. Feb. 14 and 21. Admission is $12 for the general
public; to reserve a seat, call 581-1755. For more information, visit
www.umaine.edu/spa.

--------

Theater Review:
'Hair' on Broadway

http://www.rantrave.com/Rave/Theater-Review-Hair-on-Broadway.aspx

2/5/10

It's really hard to review a show like "Hair" since it has such a
polarizing effect on people. There are those who love the songs, feed
off the energy of the hyperactive cast, and relish the chaotic
representation of a time they lived through or wish they hadn't been
born too late to experience. Then there are those who see "Hair" as a
show about a bunch of dirty hippies and wonder where the linear story
is. If you fall into the first group, you'll love the revival of
"Hair" currently on Broadway. If you fall into the second group,
"Mary Poppins" is playing over at the New Amsterdam.

I absolutely loved "Hair," end of story. I'm a part of the crowd who
was born too late to experience the turbulent late 1960s, but that
has absolutely no effect on my ability to love the show. The themes
in "Hair" are just as relevant today as they were in 1967: A younger
generation who resents the older generation? Check. Some people rage
against a war they want no part of while others cling to their blind
patriotism? Check. The youth of America worries about the future and
attempts to numb themselves about their fear of the unknown? Check
and check. Remove the bohemian clothes and update the slang, and the
tribal community of "Hair" isn't that different from the angry,
scared, apprehensive society that exists right now.

The cast of "Hair" couldn't be more spot on if we had time traveling
capabilities and could go back to the '60s and get actual hippies.
Their energy is infectious, as they leap and writhe about the stage,
then dash through the audience, handing out daisies, imploring us to
join their cause, and even sexually soliciting a lucky few (having an
aisle seat, I was treated to one of the cast members thrusting his
crotch in my face). How they keep this vigor going for the two and
half hour run time, six days a week (twice a day on Wednesdays and
Sundays), is beyond me, but they somehow pull it off.

Gavin Creel as Claude, who is more or less the main character, shines
as the heart and soul of the tribe. Not quite as manic as his
friends, he still condemns his parents and his government for
attempting to send him to Vietnam, but can't quite bring himself to
ceremoniously burn his draft card. Your heart can't help but break a
little when he questions "why I live and die." Will Swenson is his
best friend and fellow tribe member Berger, and the ultimate stand
out in the cast. Berger is egotistical, inconsiderate, and a complete
attention whore, yet he's endearing in his earnestness to piss
everyone off and stick it to the man. Swenson manages to present
Berger as annoying, vulnerable, hilarious, and sexy all at once. It's
no surprise that both of these actors received Tony nominations for
their performances.

This revival of "Hair" was first produced last summer as part of The
Public Theater's Shakespeare in the Park offering, and I was
devastated to have missed it. But having seen it in the more confined
space of the Hirschfeld, as opposed to a vast outdoor theater, I
think I'm glad I saw it where the energy was contained within a
smaller space, where I couldn't miss a thing and there were no
outside distractions. Well, besides the occasional hippie crotch in
my face, that is.

"Hair" is a must-see for anyone who loves great theater or is in need
of a jolt of energy. If you don't leave the theater wanting to go
thrift store shopping, smell of patchouli, and start smoking pot
regularly, you may want to get your vital signs checked.

--------

'Hair' full of body, bounce and shine

http://www.bangordailynews.com/detail/136952.html

Blanket of voices height of UM show

2/16/10
By Judy Harrison

Director Marcia Joy Douglas and musical director Danny Williams have
woven a net of technical wizardry and choral excellence that allows
the cast, musicians and crew of the 1968 rock musical "Hair" to
overcome most of the show's innate faults.

The show has almost no plot, sheds little insight on the youth
culture of the 1960s or the war that shaped it, and just four out of
its more than 30 songs are worth remembering ­ "Aquarius," "Hair,"
"Easy to Be Hard," and "Let the Sunshine In." But colleges, community
theater companies and even Broadway can't resist reviving "Hair"
because it's just a helluva lot of fun.

What sets the University of Maine School of Performing Arts
production apart from many others is the sound the 31 voices make
when they all are raised together. Williams, who also leads the
12-piece band that is onstage for the entire show and turns out to be
one its most developed characters, weaves the individual voices in
the cast into an intricate blanket of sound. It ensnares and
entangles audience members. It wraps and comforts them. It entices
and seduces theatergoers into believing they just might be hearing
Leonard Bernstein's score and Stephen Sondheim's lyrics for "West
Side Story." While the cast is made up of many fine singers, none of
them sounds as good individually as they do together.

Douglas, along with technical director Joe Donovan and lighting
designer Shon Causer, appears to have pushed UMaine's Hauck
Auditorium to its technical limits. "Hair" uses strobe lights, black
lights, house lights and most likely every theatrical light for miles
to give the production the intense brightness and dark shadows of the
1960s. The hallucinogenic scene with paintings and photographs from
past wars, the Civil Rights and anti-war movements is especially
effective because Douglas chooses to project them from the back of
the stage on a skrim behind a sliding set piece. In many productions,
slides or their 21st century equivalent are projected onto a screen
above the set. That removes them from what's happening onstage
instead of making them seem a part of it.

Douglas also does an excellent job of moving her large cast
efficiently on and off Dan Bilodeau's highly functional set. The
platforms and catwalk give actors the room they need to jump, dance
and gyrate without bumping into each other or appear crowded onstage.
While "Hair" may be a nostalgic look back at the "revolution" of the
1960s, it's also a painful reminder that for the most part, women
were nothing more than handmaidens. Their parts are woefully
underwritten and underdeveloped. The best songs written for the women
of "Hair" are tributes to the girl groups of the late 1950s and early
'60s, and the folk singers who followed them.

Alyssa Manzi, Allison Smith and Lisa Roth, who sing "Black Boys," and
Serena Grier, Kristen Johansen and Rebeckah Perry, who belt out
"White Boys," are sensational and stop the second act cold. Allisen
Donovan as Sheila, however, fails to channel her inner Joni Mitchell
or Jennifer Warnes in the show's signature love song, "Easy to Be
Hard." Donovan seems to be singing in a post-Beyonce era.

The thin plot thread that runs through "Hair" is devoted to two guys
­ Berger, played by Matthew Bessette, and Claude, portrayed by Justin
Zang. Both are excellent and developed back stories to give these
characters more depth than their creators did. Zang makes Claude's
struggle over whether to burn his draft card or go to war visible and
painfully and achingly real.

"Hair" is an ensemble piece. For the performers, the goal is to
become a tribe. On opening night last Friday, it wasn't until the
finale that the performers achieved that goal.

Yet, as Nestor Gonzalez's sweet tenor led the cast offstage and up
the aisles singing, "Let the sun shine. Let the sun shine in. The
suuuun shine in," the cast, the musicians and the audience were one.
And that is why "Hair" keeps growing back in theaters around the world.
--

If you go

What: "Hair: The American Tribal Love-Rock Musical," book and lyrics
by Gerome Ragni and James Rado, music by Galt MacDermot
Who: School of Performing Arts, University of Maine, Orono
Where: Hauck Auditorium, Memorial Union
When: 7: 30 p.m. Thursday-Saturday; 2 p.m. Sunday
Run time: 21/2 hours with one 15-minute intermission
Tickets: $12, free for UMaine students
Info: 581-1755, www.collinscenterforthearts.com Warning: For mature
audiences; strobe lights used

.