#07-02

Nehéz erről sírás nélkül írni. És nehéz érteni is, én sem értem, nem látok mögé.

Logannel álmodtam. Csak egy pici részre emlékszem, csak arra, hogy nagyon sírtam. (egyébként tényleg sokat sírtam az elmúlt napokban Szembe kell néznem azzal, hogy a kutya nem eszi meg a telet, és semmit sem lehet megúszni) Azt kérdeztem tőle, hogy MIÉRT? Miért bántott? Mire volt jó ez a rengeteg sok bántás? Állt és nézett rám, tök hidegen, ahogy szokott is amikor sírok, és azt mondta: Én nem bántottalak. Te bántottad magadat.

Austin Leslie (2 July 1934 – 29 September 2005) was an internationally famous New Orleans, Louisiana, chef whose work defined 'Creole Soul'. He died in Atlanta, Georgia, at the age of 71 after having been evacuated from New Orleans; he had been trapped in his attic for two days in the 98 °F heat, in the aftermath of the 29 August Hurricane Katrina. He was honored with the first jazz funeral after Katrina on October 9, 2005, in the still largely-deserted city. The procession, led by the Hot 8 Brass Band, marched through the flood-ravaged remains of Leslie's old Seventh Ward neighborhood, starting out at Pampy's Creole Kitchen and stopping along the way at the location of the original Chez Helene.

With his trademark captain's cap, lambchop sideburns, and broad smile, he was known as the Godfather of Fried Chicken. His distinctive style was the inspiration for the restaurant imagery of the 1987 television show Frank's Place.

Early years

While still in high school, Leslie worked at Portia's Fountain on Rampart Street, first as a delivery boy and later in the kitchen under Chef Bill Turner. One of the featured dishes was a crispy fried chicken garnished with sliced dill pickles, which the owner taught him to cook. This would become Leslie's signature item over the next fifty years.

After high school he worked as a chef's assistant at the D. H. Holmes restaurant. The Holmes department store catered primarily to relatively affluent white people, and for the four and half years he worked there Leslie was not allowed to prepare orders directly for customers, doing prep work instead.

In 1964, his Aunt Helen opened Chez Helene and Leslie went to work full-time as the chef.

Chez Helene

The original location of the restaurant was on North Robertson Street, near the French Quarter. It became the classic "underground" restaurant, featuring good food at reasonable prices in an off-the-beaten-path location. Despite the modest surroundings, it was compared favorably to the grand New Orleans restaurants such as Brennan's, Antoine's, and Commander's Palace. In addition to receiving rave reviews from the local food critics, Chez Helene also caught the attention of national food writers such as R.W. "Johnny" Apple of The New York Times and Calvin Trillin. The restaurant served haute creole dishes like Oysters Rockefeller as well as down-home items like stuffed bell pepper, smothered cabbage with pig tails, fried chicken livers, and mustard greens. His aunt retired in 1975 and sold the restaurant to Leslie.

Despite its commercial and culinary success, the North Robertson neighborhood became unsafe. Cab drivers would not travel to the area, and hotel concierges would no longer recommend the restaurant. Leslie moved his business to the French Quarter and opened a branch in Chicago. He also tried his hand at running a number of fried chicken outlets. But the new location did not have the same charm as the original and Leslie eventually closed Chez Helene in 1995 after thirty years of operation. After closing the Chez Helene he wrote and published the cookbook Creole-Soul.

Creole in California

In 1992, Chef Austin combined with Oakland, California-based New Orleans Bill Creole Potato Salads/Food wholesale co. to manufacture and distribute Austin's legendary Creole cooking to New Orleans Bill's supermarket customer base all over California. Austin and "New Orleans Bill", a native New Orleanian himself, started by doing Festivals and Supermarket cooking demonstrations all over California.

Denmark & back to New Orleans

After Chez Helene, Leslie worked for six months in Denmark as the executive chef of "N'Awlins." He appeared on Danish television and prepared gumbo and jambalaya for the Copenhagen Jazz Festival. After he returned to New Orleans, Leslie met Jacques Leonardi and joined on as the fry-cook of the newly opened Jacques-Imo's restaurant in the Carrollton neighborhood of New Orleans. He introduced his signature Fried Chicken with Persillade garnished with a dill pickle to a new generation of eaters.

In October 2004, he left Jacques-Imo's and joined Stan "Pampy" Barre at Pampy's Creole Kitchen in the Seventh Ward. When asked why he left, Leslie said, "I didn't move away from Jack because of money. I moved away from Jacques-Imo's because I wanted to get away from frying. I'm going to die. But I'm not going to die over that fryer." At Pampy's he worked as both a mentor to the kitchen staff, sharing his formidable knowledge of Creole cooking, and as a good-will ambassador in the front of the house, greeting and chatting with guests.

Like many in the aftermath of Hurricane Katrina, Leslie fled up to the attic of his house to escape rising flood waters. He was rescued from his rooftop after two days and evacuated first to the Morial Convention Center, then briefly to Arkansas, and finally to Atlanta. He was admitted to an Atlanta hospital on September 28, 2005, with a high fever and died the next day from a heart attack. Chef Austin's generous spirit lives on today in kitchens and on menus throughout New Orleans, in the Creole Potato Salad he helped bring to California, Georgia, and elsewhere, and in all those with whom he shared his vibrant cooking.

Quotes

You couldn't fry a chicken better than Austin. You couldn't stuff a pepper better than Austin Leslie. - Leah Chase

You think you lose big when you lose your house, but here we lose a person, a person that could help us uplift everything. - Leah Chase

[Austin Leslie's fried chicken] tasted as if it were "made from chickens that have spent their entire pampered lives strolling around the barnyard pecking contentedly at huge cloves of garlic. - Calvin Trillin

He was considered by many to be the black analogue to Paul Prudhomme. - John T. Edge

Ahmad Jamal (born Frederick Russell Jones, July 2, 1930) is an American jazz pianist, composer, bandleader, and educator. For five decades, he has been one of the most successful small-group leaders in jazz.

Biography

Early life

Jamal was born in Pittsburgh, Pennsylvania. He began playing piano at the age of three, when his uncle Lawrence challenged him to duplicate what he was doing on the piano. Jamal began formal piano training at the age of seven with Mary Cardwell Dawson, whom he describes as greatly influencing him. His Pittsburgh roots have remained an important part of his identity ("Pittsburgh meant everything to me and it still does," he said in 2001) and it was there that he was immersed in the influence of jazz artists such as Earl Hines, Billy Strayhorn, Mary Lou Williams, and Erroll Garner. Jamal also studied with pianist James Miller and began playing piano professionally at the age of fourteen, at which point he was recognized as a "coming great" by the pianist Art Tatum. When asked about his practice habits by a New York Times critic, Jamal commented that, "I used to practice and practice with the door open, hoping someone would come by and discover me. I was never the practitioner in the sense of twelve hours a day, but I always thought about music. I think about music all the time."

Beginnings and conversion to Islam

Jamal began touring with George Hudson's Orchestra after graduating from George Westinghouse High School in 1948. He joined another touring group known as The Four Strings, which soon disbanded when the violinist, Joe Kennedy. Jr., left. He moved to Chicago in 1950 (where he legally changed his name to Ahmad Jamal), and played on and off with local musicians such as saxophonists Von Freeman and Claude McLin, as well as performing solo at the Palm Tavern, occasionally joined by drummer Ike Day.

Born to Baptist parents in Pittsburgh, Pennsylvania, Jamal did not discover Islam until his early 20s. While touring in Detroit (where there was a sizable Muslim community in the 1940s and 1950s), Jamal became interested in Islam and Islamic culture. He converted to Islam and changed his name to Ahmad Jamal in 1950. In an interview with The New York Times a few years later, Jamal said his decision to change his name stemmed from a desire to "re-establish my original name." Shortly after his conversion to Islam, Jamal explained to The New York Times that he "says Muslim prayers five times a day and arises in time to say his first prayers at 5 am. He says them in Arabic in keeping with the Muslim tradition."

He made his first sides in 1951 for the Okeh label with The Three Strings (which would later also be called the Ahmad Jamal Trio, although Jamal himself prefers not to use the term "trio"): the other members were guitarist Ray Crawford and a bassist, at different times Eddie Calhoun (1950–52), Richard Davis (1953–54), and Israel Crosby (from 1954). The Three Strings arranged an extended engagement at Chicago's Blue Note, but leapt to fame after performing at the Embers in New York City where John Hammond saw the band play and signed them to Okeh Records. Hammond, a record producer who discovered the talents and enhanced the fame of musicians like Benny Goodman, Billie Holiday, and Count Basie, also helped Jamal's trio attract critical acclaim. Jamal subsequently recorded for Parrot (1953–55) and Epic (1955) using the piano-guitar-bass lineup.

At the Pershing: But Not For Me

The trio's sound changed significantly when Crawford was replaced with drummer Vernel Fournier in 1957, and the group worked as the "House Trio" at Chicago's Pershing Hotel. The trio released the live album, Live at the Pershing: But Not For Me, which stayed on the Ten Best-selling charts for 108 weeks. Jamal's well known song "Poinciana" was first released on this album.

Perhaps Jamal's most famous recording and undoubtedly the one that brought him vast popularity in the late 1950s and into the 1960s jazz age, At the Pershing was recorded at the Pershing Hotel in Chicago in 1958. Jamal played the set with bassist Israel Crosby and drummer Vernel Fournier. The set list expressed a diverse collection of tunes, including "The Surrey with the Fringe On Top" from the musical Oklahoma! and Jamal's arrangement of the jazz standard "Poinciana". Jazz musicians and listeners alike found inspiration in the At the Pershing recording, and Jamal's trio was recognized as an integral new building block in the history of jazz. Evident were his unusually minimalist style and his extended vamps, according to reviewer John Morthland. "If you're looking for an argument that pleasurable mainstream art can assume radical status at the same time, Jamal is your guide," said The New York Times contributor Ben Ratliff in a review of the album.

After the recording of the best-selling album But Not For Me, Jamal's music grew in popularity throughout the 1950s, and he attracted media coverage for his investment decisions pertaining to his "rising fortune". In 1959, he took a tour of North Africa to explore investment options in Africa. Jamal, who was twenty-nine at the time, said he had a curiosity about the homeland of his ancestors, highly influenced by his conversion to the Muslim faith. He also said his religion had brought him peace of mind about his race, which accounted for his "growth in the field of music that has proved very lucrative for me." Upon his return to the U.S. after a tour of North Africa, the financial success of Live at the Pershing: But Not For Me allowed Jamal to open a restaurant and club called The Alhambra in Chicago. In 1962, The Three Strings disbanded and Jamal moved to New York City, where, at the age of 32, he took a three-year hiatus from his musical career.

Return to music and The Awakening

In 1964, Jamal resumed touring and recording, this time with the bassist Jamil Nasser and recorded a new album, Extensions, in 1965. Jamal and Nasser continued to play and record together from 1964 to 1972. He also joined forces with Fournier (again, but only for about a year) and drummer Frank Gant (1966–76), among others. Until 1970, he played acoustic piano exclusively. The final album on which he played acoustic piano in the regular sequence was The Awakening. In the 1970s, he played electric piano as well. It was rumored that the Rhodes piano was a gift from someone in Switzerland. He continued to play throughout the 1970s and 1980s, mostly in trios with piano, bass and drums, but he occasionally expanded the group to include guitar. One of his most long-standing gigs was as the band for the New Year's Eve celebrations at Blues Alley in Washington, D.C., from 1979 through the 1990s.

Later career

In 1986, Jamal sued critic Leonard Feather for using his former name in a publication.

Clint Eastwood featured two recordings from Jamal's But Not For Me album — "Music, Music, Music" and "Poinciana" — in the 1995 movie The Bridges of Madison County.

Now in his eighties, Ahmad Jamal has continued to make numerous tours and recordings. His most recently released albums are Saturday Morning (2013), and the CD/DVD release Ahmad Jamal Featuring Yusef Lateef Live at L'Olympia (2014).

Jamal is the main mentor of jazz piano virtuosa Hiromi Uehara, known as Hiromi.

Style and influence

Trained in both traditional jazz ("American classical music", as he prefers to call it) and European classical style, Ahmad Jamal has been praised as one of the greatest jazz innovators over his exceptionally long career. Following bebop greats like Charlie Parker and Dizzy Gillespie, Jamal entered the world of jazz at a time when speed and virtuosic improvisation were central to the success of jazz musicians as artists. Jamal, however, took steps in the direction of a new movement, later coined "cool jazz" – an effort to move jazz in the direction of popular music. He emphasized space and time in his musical compositions and interpretations instead of focusing on the blinding speed of bebop.

Because of this style, Jamal was "often dismissed by jazz writers as no more than a cocktail pianist, a player so given to fluff that his work shouldn't be considered seriously in any artistic sense". Stanley Crouch, author of Considering Genius, offers a very different reaction to Jamal's music, claiming that, like the highly influential Thelonious Monk, Jamal was a true innovator of the jazz tradition and is second in importance in the development of jazz after 1945 only to Parker. His unique musical style stemmed from many individual characteristics, including his use of orchestral effects and his ability to control the beat of songs. These stylistic choices resulted in a unique and new sound for the piano trio: "Through the use of space and changes of rhythm and tempo", writes Crouch, "Jamal invented a group sound that had all the surprise and dynamic variation of an imaginatively ordered big band." Jamal explored the texture of riffs, timbres, and phrases rather than the quantity or speed of notes in any given improvisation. Speaking about Jamal, A. B. Spellman of the National Endowment of the Arts said: "Nobody except Thelonious Monk used space better, and nobody ever applied the artistic device of tension and release better." These (at the time) unconventional techniques that Jamal gleaned from both traditional classical and contemporary jazz musicians helped pave the way for later jazz greats like Bill Evans, Herbie Hancock, and McCoy Tyner.

Though Jamal is often overlooked by jazz critics and historians, he is frequently credited with having a great influence on Miles Davis. Davis is quoted as saying that he was impressed by Jamal's rhythmic sense and his "concept of space, his lightness of touch, his understatement". Jamal characterizes what he thought Davis admired about his music as: "my discipline as opposed to my space." Jamal and Davis became friends in the 1950s, and Davis continued to support Jamal as a fellow musician, often playing versions of Jamal's own songs ("Ahmad's Blues", "New Rhumba") until he died in 1991.

Jamal, speaking about his own work says, "I like doing ballads. They're hard to play. It takes years of living, really, to read them properly." From an early age, Jamal developed an appreciation for the lyrics of the songs he learned: "I once heard Ben Webster playing his heart out on a ballad. All of a sudden he stopped. I asked him, 'Why did you stop, Ben?' He said, 'I forgot the lyrics.'" Jamal attributes the variety in his musical taste to the fact that he grew up in several eras: the big band era, the bebop years, and the electronic age. He says his style evolved from drawing on the techniques and music produced in these three eras. In 1985, Jamal agreed to do an interview and recording session with his fellow jazz pianist, Marian McPartland on her NPR show Piano Jazz. Jamal, who said he rarely plays "But Not For Me" due to its popularity since his 1958 recording, played an improvised version of the tune – though only after noting that he has moved on to making ninety percent of his repertoire his own compositions. He said that when he grew in popularity from the Live at the Pershing album, he was severely criticized afterwards for not playing any of his own compositions.

In more recent years, Jamal has embraced the electronic influences affecting the genre of jazz. He has also occasionally expanded his usual small ensemble of three to include a tenor saxophone (George Coleman) and a violin. A jazz fan interviewed by Down Beat magazine about Jamal in 2010 described his development as "more aggressive and improvisational these days. The word I used to use is avant garde; that might not be right. Whatever you call it, the way he plays is the essence of what jazz is."

Saxophonist Ted Nash, a longtime member of the Lincoln Center Orchestra, had the opportunity to play with Jamal in 2008 for Jazz at Lincoln Center. Nash described his experience with Jamal's style in an interview with Down Beat magazine: "The way he comped wasn't the generic way that lots of pianists play with chords in the middle of the keyboard, just filling things up. He gave lots of single line responses. He'd come back and throw things out at you, directly from what you played. It was really interesting because it made you stop, and allowed him to respond, and then you felt like playing something else – that's something I don't feel with a lot of piano players. It's really quite engaging. I guess that's another reason people focus in on him. He makes them hone in [sic]."

Bands and personnel

Jamal typically plays with a bassist and drummer: his current trio is with bassist Reginald Veal and drummer Herlin Riley. He has also performed with percussionist Manolo Badrena. Jamal has recorded with the voices of the Howard A. Roberts Chorale on The Bright, the Blue and the Beautiful and Cry Young; with vibraphonist Gary Burton on In Concert; with brass, reeds, and strings celebrating his hometown of Pittsburgh; with The Assai Quartet; and with saxophonist George Coleman on the album The Essence.

Awards and honors

1959: Entertainment Award, Pittsburgh Junior Chamber of Commerce

1980: Distinguished Service Award, City of Washington D.C., Anacostia Neighborhood Museum, Smithsonian Institution

1981: Nomination, Best R&B Instrumental Performance ("You're Welcome", "Stop on By"), NARAS

1986: Mellon Jazz Festival Salutes Ahmad Jamal, Pittsburgh, Pennsylvania

1987: Honorary Membership, Philippines Jazz Foundation

1994: American Jazz Masters award, National Endowment for the Arts

2001: Arts & Culture Recognition Award, National Coalition of 100 Black Women

2001: Kelly-Strayhorn Gallery of Stars, for Achievements as Pianist and Composer, East Liberty Quarter Chamber of Commerce

2003: American Jazz Hall of Fame, New Jersey Jazz Society

2003: Gold Medallion, Steinway & Sons 150 Years Celebration (1853–2003)

2007: Living Jazz Legend, Kennedy Center for the Performing Arts

2007: Ordre des Arts et des Lettres, French government

2011: Down Beat Hall of Fame, 76th Readers Poll

2015: Honorary Doctorate of Music, The New England Conservatory

Discography

As leader

1951: Ahmad's Blues (Okeh)

1955: Ahmad Jamal Plays (Parrot) – also released as Chamber Music of the New Jazz (Argo)

1955: The Ahmad Jamal Trio (Epic)

1956: Count 'Em 88 (Argo)

1958: At the Pershing: But Not for Me (Argo)

1958: At the Pershing, Vol. 2 (Argo)

1958: Ahmad Jamal Trio Volume IV (Argo)

1958: Portfolio of Ahmad Jamal (Argo)

1959: The Piano Scene of Ahmad Jamal (Epic)

1959: Jamal at the Penthouse (Argo)

1960: Happy Moods (Argo)

1960: Listen to the Ahmad Jamal Quintet (Argo)

1961: All of You (Argo)

1961: Ahmad Jamal's Alhambra (Argo)

1962: Ahmad Jamal at the Blackhawk (Argo)

1962: Macanudo (Argo)

1963: Poinciana (Argo)

1964: Naked City Theme (Argo)

1965: The Roar of the Greasepaint (Argo)

1965: Extensions (Argo)

1966: Rhapsody (Cadet)

1966: Heat Wave (Cadet)

1967: Cry Young (Cadet)

1968: The Bright, the Blue and the Beautiful (Cadet)

1968: Tranquility (ABC)

1968: Ahmad Jamal at the Top: Poinciana Revisited (Impulse!)

1970: The Awakening (Impulse!)

1971: Freeflight (Impulse!)

1972: Outertimeinnerspace (Impulse!)

1973: Ahmad Jamal '73 (20th Century)

1974: Jamalca (20th Century)

1974: Jamal Plays Jamal (20th Century)

1975: Genetic Walk (20th Century)

1976: Steppin' Out with a Dream (20th Century)

1976: Recorded Live at Oil Can Harry's (Catalyst)

1978: One (20th Century)

1980: Intervals (20th Century)

1980: Live at Bubba's (Who's Who in Jazz)

1980: Night Song (Motown)

1981: In Concert (Personal Choice Records)

1982: American Classical Music (Shubra)

1985: Digital Works (Atlantic)

1985: Live at the Montreal Jazz Festival 1985 (Atlantic)

1986: Rossiter Road (Atlantic)

1987: Crystal (Atlantic)

1989: Pittsburgh (Atlantic)

1992: Live in Paris 1992 (Birdology)

1992: Chicago Revisited (Telarc)

1994: I Remember Duke, Hoagy & Strayhorn (Telarc)

1994: Ahmad Jamal with The Assai Quartet (Roesch)

1994: Ahmad Jamal at Home (Roesch)

1995: The Essence Part One (Birdology)

1995: Big Byrd: The Essence Part 2 (Birdology)

1996: Live in Paris 1996 (Birdology)

1997: Nature: The Essence Part Three (Birdology)

2000: Picture Perfect

2001: Ahmad Jamal à l'Olympia

2003: In Search of Momentum

2005: After Fajr

2008: It's Magic

2008: Poinciana – One Night Only

2009: A Quiet Time

2012: Blue Moon (Jazzbook)

2013: Saturday Morning (Jazzbook)

2014: Ahmad Jamal featuring Yusef Lateef, Live at L'Olympia. 2012 — 2 CDs/1 DVD (Jazzbook/Bose/Jazz Village)

2017: Marseille (Jazz Village)

Compilations

1967: Standard Eyes (Cadet)

1972: Inspiration (Cadet)

1974: Re-evaluations: The Impulse! Years (Impulse!)

1980: The Best of Ahmad Jamal (20th Century)

1998: Ahmad Jamal 1956–66 Recordings

1998: Cross Country Tour 1958–1961 (GRP/Chess)

2005: The Legendary Okeh & Epic Recordings (1951–1955) (Columbia Legacy)

2007: Complete Live at the Pershing Lounge 1958 (Gambit)

2007: Complete Live at the Spotlite Club 1958 (Gambit)

As sideman

With Ray Brown

Some of My Best Friends Are...The Piano Players (Telarc, 1994)

With Shirley Horn

May the Music Never End (Verve, 2003)

Keith Beauchamp (born July 2, 1972) is a filmmaker based in Brooklyn who investigated the murder of Emmett Till, fifty years after Till's death in 1955, Beauchamp's research eventually led him to create the documentary film The Untold Story of Emmett Louis Till [1], and the reopening of the case by the United States Department of Justice in May 2004.

Beauchamp first encountered the Emmett Till story at age ten while looking through an issue of Jet magazine. In 1996 he started his own research, and found microfilm of articles which listed witness who had not been questioned by police, and references to uncharged participants in the murder, besides J.W. Milam and Roy Bryant, who were found not guilty of Till's murder, but later publicly confessed. Through the help of other researchers, Beauchamp contacted witnesses, but he says that it was some years before they trusted him enough to speak on camera. Researching and creating the film took nine years.

Beauchamp says that he almost suffered a similar fate to Till in 1989. He states that as a young man at a dance in a Louisiana nightclub a doorman/bouncer accosted him for dancing with a white girl. According to Beauchamp, an undercover police officer then dragged him outside where he was beaten, before being taken to a police station where he was handcuffed to a chair and beaten further. He says that the abuse only stopped when the police realized that Beauchamp was close friends with the son of a sheriff's department major.

Beauchamp is involved in other film work but credits the Untold Story with occupying and shaping his life in a major way, and his relationship with Mamie Till, Emmett mother's, with inspiring him to create the film. His story was featured in various television shows including "60 Minutes" with Ed Bradley.

In February 2007, the Jackson Clarion-Ledger reported that both the FBI and a Leflore County Grand Jury, which was empaneled by Joyce Chiles, a black prosecutor, had found no credible basis for Keith Beauchamp's claim that fourteen individuals took part in Till's abduction and murder or that any are still alive. The Grand Jury also decided not to pursue charges against Carolyn Bryant Donham, Roy Bryant's ex-wife. Neither the FBI nor the Grand Jury found any credible evidence that Henry Lee Loggins, currently living in an Ohio nursing home, and identified by Beauchamp as a suspect who could be charged, had any role in the crime. Beauchamp still refuses to name the fourteen people who he says were involved although the FBI and District Attorney have now completed their investigations of his charges and he is free to go on the record. A story by Jerry Mitchell in the Clarion-Ledger on February 18, 2007, describes Beauchamp's allegation that fourteen or more were involved as a "legend." Beauchamp contends that his initiative and extensive work with the FBI have inspired the bureau to re-open several such cold civil rights cases.

Medgar Wiley Evers (July 2, 1925 – June 12, 1963) was an American civil rights activist from Mississippi who worked to overturn segregation at the University of Mississippi and to enact social justice and voting rights. He was murdered by a white supremacist and Klansman.

A World War II veteran and college graduate, he became active in the Civil Rights Movement in the 1950s. He became a field secretary for the National Association for the Advancement of Colored People (NAACP). Following the 1954 ruling of the United States Supreme Court in Brown v. Board of Education that segregated public schools were unconstitutional, Evers worked to gain admission for African Americans to the state-supported public University of Mississippi. He also worked on voting rights and registration, economic opportunity, access to public facilities, and other changes in the segregated society.

Evers was murdered by Byron De La Beckwith, a member of the White Citizens' Council, a group formed in 1954 to resist integration of schools and civil rights activity. As a veteran, Evers was buried with full military honors at Arlington National Cemetery. His murder and the resulting trials inspired civil rights protests, as well as numerous works of art, music and film. All-white juries failed to reach verdicts in the first two trials of Beckwith. He was convicted in a new state trial in 1994, based on new evidence.

Myrlie Evers, widow of the activist, became a noted activist in her own right, serving as national chair of the NAACP. His brother Charles Evers was the first African-American mayor elected in Mississippi in the post-Reconstruction era when he won in 1969 in Fayette.

Early life

Evers was born July 2, 1925, in Decatur, Mississippi, the third of the five children (including older brother Charles Evers) of Jesse (Wright) and James Evers. The family included Jesse's two children from a previous marriage. The Evers family owned a small farm, and James also worked at a sawmill. Evers walked twelve miles to attend segregated schools, and earned his high school diploma.

Evers served in the United States Army during World War II from 1943 to 1945. He was sent to the European Theater and he fought in the Battle of Normandy in June 1944. After the end of the war, Evers was honorably discharged as a sergeant.

In 1948, Evers enrolled at Alcorn Agricultural and Mechanical College (a historically black college, now Alcorn State University) majoring in business administration. He also competed on the debate, football, and track teams, sang in the choir, and was junior class president. He earned his Bachelor of Arts in 1952.

On December 24, 1951, he married classmate Myrlie Beasley. Together they had three children: Darrell Kenyatta, Reena Denise, and James Van Dyke Evers.

Activism

The couple moved to Mound Bayou, Mississippi a town developed by African Americans, where Evers became a salesman for T. R. M. Howard's Magnolia Mutual Life Insurance Company. Howard was also president of the Regional Council of Negro Leadership (RCNL); Evers helped organize the RCNL's boycott of gasoline stations that denied blacks the use of the stations' restrooms. Evers and his brother Charles also attended the RCNL's annual conferences in Mound Bayou between 1952 and 1954, which drew crowds of ten thousand or more.

In 1954, Evers applied to the segregated University of Mississippi Law School, but his application was rejected because of his race. He submitted his application in concert with the NAACP as a test case. That year the US Supreme Court had ruled that segregation of public schools (which included state universities) was unconstitutional.

On November 24, 1954, Evers was named the NAACP's first field secretary for Mississippi. In this position, he helped organize boycotts and set up new local chapters of the NAACP. He was involved with James Meredith's efforts to enroll in the University of Mississippi in the early 1960s. Evers also helped Dr. Gilbert Mason, Sr., organize the Biloxi wade-ins, protests against segregation of public beaches on the Mississippi Gulf Coast. In addition, Evers also helped integrate Jackson's privately owned buses and was trying to integrate the public parks, led voter registration drives, and used boycotts to integrate Leake County schools and the Mississippi State Fair.

Evers' civil rights leadership and investigative work made him a target of white supremacists. The White Citizens' Council was founded in Mississippi, with numerous local chapters, to resist integration of schools and civil rights goals. In the weeks before Evers' death, the leader encountered new levels of hostility. His public investigations into the 1955 lynching of teenaged Emmett Till and his vocal support of Clyde Kennard had made him a prominent black leader. On May 28, 1963, a Molotov cocktail was thrown into the carport of his home. On June 7, 1963, Evers was nearly run down by a car after he emerged from the NAACP office in Jackson.

Assassination

Medgar Evers lived with the constant threat of death upon him, living in an area with a heavy Ku Klux Klan and white supremacist population in the areain which he both lived and advocated. The risk had grown so great in the time before his death that Evers and his wife Myrlie had trained their children on exactly what to do if their was a shooting, bombing, or other kind attack on their lives. Evers, who was regularly followed home by at least two FBI cars and one police car, arrived at his home on the morning of his death without an escort, with none of his usual protection for reasons unspecified by the FBI or local police. Many believe that many members of the police force at the time were members of the Klan.

In the early morning of June 12, 1963, just hours after President John F. Kennedy's nationally televised Civil Rights Address, Evers pulled into his driveway after returning from a meeting with NAACP lawyers. Evers family had worried for his safety the day of his assassination, and Evers himself had warned his wife that he felt himself in a greater danger than usual. When he arrived home, Evers' family was waiting for him, and his children exclaimed to his wife, Myrlie, that he had arrived. Emerging from his car and carrying NAACP T-shirts that read "Jim Crow Must Go", Evers was struck in the back with a bullet fired from an Enfield 1917 rifle; the bullet ripped through his heart. Initially thrown to the ground by the impact of the shot, Evers rose and staggered 30 feet (9.1 meters) before collapsing. His wife Myrlie was the first to find him outside of their front door. He was taken to the local hospital in Jackson, Mississippi where he was initially refused entry because of his race. His family explained who he was and he was admitted; he died in the hospital 50 minutes later. Evers was the first African American to be admitted to an all white hospital in Mississippi, an ironic final achievement for the dying activist.

After Evers was assassinated, an estimated 5,000 people marched from the Masonic Temple on Lynch Street to the Collins Funeral Home on North Farish Street in Jackson, Mississippi. Allen Johnson, Reverend Martin Luther King and other civil rights leaders led the procession. Outraged at the death of one of the most loved Mississippi civil rights leaders, the protests quickly got out of hand. The Mississippi police were prepared for the assault, with riot gear and rifles waiting for the protesters were they to turn violent. While tensions flared initially in the stand off, and in many similar ones around the state, leaders of the movement were able to reel in their followers and maintain a nonviolent atmosphere.

Mourned nationally, Evers was buried on June 19 in Arlington National Cemetery, where he received full military honors before a crowd of more than 3,000.

On June 21, 1963, Byron De La Beckwith, a fertilizer salesman and member of the White Citizens' Council (and later of the Ku Klux Klan), was arrested for Evers' murder. District Attorney and future governor Bill Waller prosecuted De La Beckwith. All-white juries twice that year - February and April 1964 - deadlocked on De La Beckwith's guilt and failed to reach a verdict. At the time, most blacks were disenfranchised by Mississippi's constitution and voter registration practices; this meant they were also excluded from juries, which were based on registered voters.

Myrlie Evers never gave up the fight for a conviction of her husbands murderer, and waited until a new judge had been assigned in the county before taking action to take her case against De La Beckwith back into the courtroom. In 1994, De La Beckwith was prosecuted by the state based on new evidence. Bobby DeLaughter was the prosecutor. During the trial, the body of Evers was exhumed from his grave for an autopsy. De La Beckwith was convicted of murder on February 5, 1994, after having lived as a free man for much of the three decades following the killing. (He had been imprisoned from 1977 to 1980 on separate charges: conspiring to murder A.I. Botnick.) In 1997,De La Beckwith appealed his conviction in the Evers' case, but the Mississippi Supreme Court upheld it. He later died at age 80 in prison in January 2001.

Legacy

Evers was memorialized by leading Mississippi and national authors, both black and white: Eudora Welty, James Baldwin, Margaret Walker and Anne Moody. In 1963, he was awarded the Spingarn Medal from the NAACP. In 1969, Medgar Evers College was established in Brooklyn, New York, as part of the City University of New York.

Evers's widow, Myrlie Evers co-wrote the book For Us, the Living with William Peters in 1967. In 1983, a movie was made based on the book. Celebrating Evers's life and career, it starred Howard Rollins Jr. and Irene Cara as Medgar and Myrlie Evers, airing on PBS. The film won the Writers Guild of America award for Best Adapted Drama.

In 1969 a community pool in the Central District neighborhood of Seattle, WA was named after Evers, honoring his life.

On June 28, 1992, the city of Jackson, Mississippi, erected a statue in honor of Evers. All of Delta Drive (part of U.S. Highway 49) in Jackson was renamed in Evers' honor. In December 2004, the Jackson City Council changed the name of the city's airport to "Jackson-Medgar Wiley Evers International Airport" (Jackson-Evers International Airport) in his honor.

His widow Myrlie Evers became a noted activist in her own right, eventually serving as chairperson of the NAACP. Medgar's brother Charles Evers returned to Jackson in July 1963 and served briefly with the NAACP in his slain brother's place. He remained involved in Mississippi civil rights activities for many years, was the first African-American mayor elected in the state in 1969, and resides in Jackson.

On the 40-year anniversary of Evers' assassination, hundreds of civil rights veterans, government officials, and students from across the country gathered around his grave site at Arlington National Cemetery to celebrate his life and legacy. Barry Bradford and three students—Sharmistha Dev, Jajah Wu and Debra Siegel, formerly of Adlai E. Stevenson High School in Lincolnshire, Illinois—planned and hosted the commemoration in his honor. Evers was the subject of the students' research project.

In October 2009, Navy Secretary Ray Mabus, a former Mississippi governor, announced that USNS Medgar Evers (T-AKE-13), a Lewis and Clark-class dry cargo ship, would be named in the activist's honor. The ship was christened by Myrlie Evers-Williams on November 12, 2011.

In June 2013, a statue of Evers was erected at his alma mater, Alcorn State University, to commemorate the 50th anniversary of his death. Alumni and guests from around the world gathered to recognize his contributions to American society.

Evers was honored in a tribute at Arlington National Cemetery on the 50th anniversary of his death. Former President Bill Clinton, Attorney General Eric Holder, Navy Secretary Ray Mabus, Senator Roger Wicker and NAACP President Benjamin Jealous all spoke commemorating Evers. Evers' widow, Myrlie Evers-Williams, spoke on his contributions to the advancement of civil rights:

"Medgar was a man who never wanted adoration, who never wanted to be in the limelight. He was a man who saw a job that needed to be done and he answered the call and the fight for freedom, dignity and justice not just for his people but all people."

He was identified as a Freedom hero by The My Hero Project.

In 2017, the Medgar and Myrlie Evers House was named as a National Historic Landmark.

In popular culture

Musician Bob Dylan wrote his 1963 song "Only a Pawn in Their Game" about the assassination. Nina Simone wrote and sang "Mississippi Goddam" about the Evers case, and Phil Ochs wrote the songs "Another Country" and "Too Many Martyrs" (also titled "The Ballad Of Medgar Evers") in response to the killing. Matthew Jones and the Student Nonviolent Coordinating Committee Freedom Singers recorded the latter song. Eudora Welty's short story "Where is the Voice Coming From", in which the speaker is the imagined assassin of Medgar Evers, was published in The New Yorker in July 1963.

The film Ghosts of Mississippi (1996) directed by Rob Reiner, tells the story of the 1994 trial of Beckwith, in which prosecutor DeLaughter of the Hinds County District Attorney's office secured a conviction in state court. Beckwith and DeLaughter were played by James Woods and Alec Baldwin, respectively; Whoopi Goldberg played Myrlie Evers. Evers was portrayed by James Pickens Jr. The film was based on a book of the same name.

Robert DeLaughter wrote a first-person narrative article entitled "Mississippi Justice" published in Reader's Digest, and a book, Never Too Late: A Prosecutor's Story of Justice in the Medgar Evers Case (2001), based on his experiences.

Wadada Leo Smith's album Ten Freedom Summers contains a track called "Medgar Evers: A Love-Voice of a Thousand Years' Journey for Liberty and Justice".

The 2016 documentary I am not your Negro describes the author James Baldwin's reaction to Evers' assassination.

Richard Bruce Nugent (July 2, 1906 – May 27, 1987), aka Richard Bruce and Bruce Nugent, was a writer and painter in the Harlem Renaissance. One of many gay artists of the Harlem Renaissance, he was one of few who was out publicly. Recognized initially for the few short stories and paintings that were published, Nugent had a long productive career bringing to light the creative process of gay and black culture.

Biography

Richard Bruce Nugent was born in Washington, DC on July 2, 1906 to Richard H. Nugent, Jr., and his wife Pauline Minerva Bruce. After attending Dunbar High School, he moved to New York after his father's death in 1920. The majority of his life and career took place in Harlem in New York City, and he died on May 27, 1987 in Hoboken, New Jersey.

During his career in Harlem, Nugent lived with writer Wallace Thurman from 1926 – 1928 which led to the publishing of “Smoke, Lilies, and Jade” in Thurman's publication “Fire!!!”. The short story was written in a modernist stream-of-consciousness style, its subject matter was bisexuality and more specifically interracial male desire.

Many of his illustrations were featured in publications, such as “Fire!!!” along with his short story. Four of his paintings were included in the Harmon Foundation's exhibition of Negro artists, which was one of the few venues available for black artists in 1931. His only stand-alone publication, “Beyond Where the Stars Stood Still," was issued in a limited edition by Warren Marr II in 1945. He later married Marr's sister, Grace on December 5, 1952.

His marriage to Grace Marr lasted from 1952 until her suicide in 1969. Nugent's intentions with the marriage were unclear as they were not romantic due to his clearly stated interest in other men. Thomas Wirth, contemporary and personal friend of Richard Nugent claimed that Grace loved Richard and was determined to change his sexuality in “Gay Rebel of the Harlem Renaissance: Selections from the Work of Richard Bruce Nugent” 2002

He attended the Community Planning Conference at Columbia University in 1964 as an invited speaker. The conference was held under the auspices of the Borough President of Manhattan/Community Planning Board 10 and Columbia University. The idea of forming an organization to promote the arts in Harlem emerged from the conference’s Cultural Planning workshop and led to the formation of the Harlem Cultural Council. Nugent took an active role in this effort and attended numerous subsequent meetings. Nugent was elected co-chair (a position equivalent to vice president) of this council. He also served as chair of the Program Committee until March 1967.

Legacy

Nugent's aggressive and honest approach to homoerotic and interracial desire was not necessarily in the favor of his more discreet homosexual contemporaries. Alain Locke chastised the publication “Fire!!!” for its radicalism and specifically Nugent's “Smoke Lilies, and Jade” for promoting the effeminacy and decadence associated with homosexual writers.

Nugent's group of friends, made up of Langston Hughes, Zora Neale Hurston, Aaron Douglas, Gwendolyn Bennett, and John P. Davis, all frequented "Niggerati Manor," which was where they socialized with each other as well as where the origination of "Fire!!!" was based. As well as his friends, Nugent was also influenced by the likes of Aaron Douglas and Georgia Douglas Johnson. These people's aesthetics were seen in his work. They also helped get his work into various magazines for exposure.

Nugent's work resurfaced in anthologies such as Michael J. Smith's “Black Men/White Men: A Gay Anthology" (1983), and Joseph Beam's interview with Nugent in “In The Life: A Black Gay Anthology” (1986). His work after its resurfacing brought to light the lifestyle of black gay artists during the Harlem Renaissance. His use of codes made much of his work pass unseen by straight contemporaries under the disguise of biblical imagery for example. Nugent bridged the gap between the Harlem Renaissance and the black gay movement of the 1980s and was a great inspiration to many of his contemporaries.

Bibliography

Shadow

My Love

Narcissus

Incest

Who Asks This Thing?

Bastard Song

Sahdji

Smoke, Lilies and Jade

The Now Discordant Song of Bells

Slender Length of Beauty

Tunic with a Thousand Pleats

Pope Pius the Only

On Harlem

On Georgette Harvey

On Gloria Swanson

Lunatique

Pattern for Future Dirges

Popular Culture

Film

As one of the last survivors of the Harlem Renaissance, Nugent was a sought-after interview subject in his old age, consulted by numerous biographers and writers on both black and gay history. He was interviewed in the 1984 gay documentary, “Before Stonewall,” and his work was featured in Isaac Julien’s 1989 film, Looking for Langston.

Brother to Brother is a film written and directed by Rodney Evans and released in 2004. The film debuted at the 2004 Sundance Film Festival before playing the gay and lesbian film festival circuit, with a limited theatrical release in late 2004.The film is concerns an art student named Perry (Anthony Mackie) who befriends an elderly homeless man named Bruce Nugent (Roger Robinson), who turns out to have been an important figure in the Harlem Renaissance. Through recalling his friendships with other important Harlem Renaissance figures such as Langston Hughes, Aaron Douglas, Wallace Thurman and Zora Neale Hurston, Bruce chronicles some of the challenges he faced as a young, black, gay writer in the 1920s. Perry discovers that the challenges of homophobia and racism he faces in the early 21st century closely parallel Bruce's.

Theater

Smoke Lilies & Jade is a Bildungsroman (coming-of-age) play by writer Carl Hancock Rux. Loosely based on Nugent's 1926 short story, "Smoke, Lilies and Jade" (as well as elements of Richard Bruce Nugent's own life) the play concerns the psychological and moral growth of its protagonist Alex as he reflects on his love for a man named "Beauty" and a woman named "Melva", as well as the relationships, injustices and tragedies that eventually befell him and many of the Jazz Age's African American artists and intellectuals. The play was initially commissioned by The Joseph Papp Public Theater and later produced by the CalArts Center for New Performance.

Jonathan T. Capehart (born July 2, 1967) an American journalist and television personality. He writes for The Washington Post's PostPartisan blog and is a contributor for MSNBC.

Background

Capehart grew up in Newark, New Jersey, and attended Saint Benedict's Preparatory School. He is a graduate of Carleton College.

Career

Prior to his work with the Washington Post and MSNBC, Capehart was a researcher for NBC's The Today Show. Subsequently, he worked for the New York Daily News (NYDN), serving as a member of its editorial board from 1993 to 2000. At the time of his hiring, Capehart was youngest-ever member of that newspaper's editorial board. In 2000, he left the NYDN to work at Bloomberg News and afterward, he advised and wrote speeches for Michael Bloomberg during Bloomberg's 2001 run for the mayoralty of New York City. In 2002, he returned to the NYDN, serving as deputy editor of the editorial page until 2004. In December 2004, Capehart joined the global public relations company Hill & Knowlton as a Senior Vice President and senior counselor of public affairs.

He joined the staff of the Washington Post as a journalist and editorial board member in 2007. He currently serves in that capacity, in addition to being a contributing commentator for MSNBC.

Awards

Capehart was a key contributor to a New York Daily News editorial team that won a Pulitzer Prize in 1999 for Best Editorial Writing. The award was for a series of editorials regarding Harlem's Apollo Theater.

He was a 2011 Esteem Honoree, a distinction given to individuals in recognition of efforts in supporting the African American and LGBT communities in the areas of entertainment, media, civil rights, business, and art.

Criticism

In February 2016, Capehart published an accusation against presidential candidate Bernie Sanders, alleging that the Sanders campaign had been misrepresenting a photograph showing Sanders speaking at a civil rights sit-in in the 1960s. Capehart wrote that the Sanders campaign should "stop physically placing him where he existed only in spirit," arguing that the photo showed another activist, Bruce Rappaport. The photographer/documentarian of the event, Danny Lyon, refuted this claim and revealed other photos of Sanders from the sit-in, which are not in dispute and show Sanders wearing identical clothing and eyeglasses. Many people expressed frustration with Capehart, accusing him of staging a "smear" of Sanders. Capehart never recanted his accusation, instead writing a follow-up article titled, "Bernie Sanders and the Clash of Memory." In the article, Capehart juxtaposed Lyon's testimony and photographic evidence with testimony from Rappaport's friend Bruce Stark, who is pictured in the photo, and from Randy Ross, who wasn't at the event but was married to Rappaport for 5 years.