Black History
COMMENTARY: The Morris Building Should be a Civil Rights Museum
THE TENNESSEE TRIBUNE — Though many may not realize it, Nashville was one of the key locales in the Movement from its inception.
NASHVILLE, TN — The Morris building and property is the ideal location for Nashville to construct its own Civil Rights Museum, something that has long been needed to highlight and celebrate a vital part of our city’s heritage.
Though many may not realize it, Nashville was one of the key locales in the Movement from its inception. While Greensboro was the site of the first sit-ins, Nashville students were soon active participants as well. The distinguished Rev. James Lawson, then a Vanderbilt Divinity student, sacrificed his early education to play a major role, and Fisk University’s Race Relations Institute served as a think tank where strategy sessions and major meetings were frequently held. Rev. Kelly Miller Smith, Sr. as president of the Nashville NAACP, founder and president of the Nashville Christian Leadership Conference (NCLC), and a founding board member of the Nashville Urban League, was one of the city’s most influential black leader’s involved in the civil rights movement in Nashville.
Nashville was the most prominent key center of the Civil Rights Movement that doesn’t have its own museum saluting our history. Such cities as Atlanta, Greensboro, Birmingham, Memphis, Charleston and Jackson, Mississippi already have highly touted, popular Civil Rights Museums. Even other areas like Cincinnati, Detroit, and both New York City (the Schomburg) and Auburn, New York (Harriet Tubman’s home) have museums that acknowledge their municipalities’ Civil Rights Heritage, and of course there’s the National Black History and Culture Museum in Washington, D.C.
While Nashville’s bustling hierarchy of black music institutions was sacrificed due to urban renewal (Negro removal) and interstate construction, there remains in the downtown public library’s Civil Rights room records of many Nashville personalities who played a major role in the Movement. That does not provide a more suitable foundation for a Museum. The Morris building would also be a natural fit with the city’s 25 white museums.
The Morris Bldg. project would increase employment opportunities and it would not only provide more diverse interest but it would certainly resonate with the Mayor’s stated goal of expanded access for Black owned businesses and individuals that allows them to more fully participate in Nashville’s continuing growth and progress.
The Morris Building dates back to the mid-1920s, when it was established as the publishing arm of the National Baptist Convention. While we understand there are other uses under consideration for this property, we can’t think of one more suitable for a building originally designed by one of the nation’s first black-owned architectural firms, and one that’s part of a business district that has not received the respect, attention or consideration it deserves.
The creation of a Civil Rights Museum would be a big step towards revitalizing the entire area, and also recognize a part of our city’s heritage that is too often only noted in passing or briefly during Black History Month. Nashville’s role in the Civil Rights Movement is as historic equally and is as important and noteworthy as anything else in Nashville’s history, including our emergence as the “It City” and the evolution of “Music City.”
Remember: Tennessee offers the chance to learn about the struggles and triumphs of African Americans who helped to shape and build our country in other parts of Tennessee: Alex Haley Museum & Interpretive Center – Henning; Dunbar Carver Museum – Brownsville; National Civil Rights Museum – Memphis; Slave Haven Underground Railroad Museum – Stax Mu Memphis; Stax Museum of American Soul Music – Memphis; Tina turner Museum and Flagg Grove School – Brownsville; Withers Collection Museum and Gallery – Memphis; Beck Cultural Center – Knoxville; Green McAdoo Cultural Center – Clinton; Bessie Smith Culture Center – Chattanooga; McLemore House Museum – Franklin; Nashville should take this step and make Nashville’s Civil Rights Museum the best in the nation, one befitting of its impact on the greatest social movement of the 20th century.
This article originally appeared in The Tennessee Tribune.
Activism
‘Donald Trump Is Not a God:’ Rep. Bennie Thompson Blasts Trump’s Call to Jail Him
“Donald Trump is not a god,” U.S. Rep. Bennie Thompson, D-Miss., told The Grio during a recent interview, reacting to Trump’s unsupported claims that the congressman, along with other committee members like vice chair and former Republican Rep. Liz Cheney, destroyed evidence throughout the investigation.
By Post Staff
U.S. Rep. Bennie Thompson, D-Miss., said he not intimidated by President-elect Donald Trump, who, during an interview on “Meet the Press,” called for the congressman to be jailed for his role as chairman of the special congressional committee investigating Trump’s role in the Jan. 6, 2021, mob attack on the U.S. Capitol.
“Donald Trump is not a god,” Thompson told The Grio during a recent interview, reacting to Trump’s unsupported claims that the congressman, along with other committee members like vice chair and former Republican Rep. Liz Cheney, destroyed evidence throughout the investigation.
“He can’t prove it, nor has there been any other proof offered, which tells me that he really doesn’t know what he’s talking about,” said the 76-year-old lawmaker, who maintained that he and the bipartisan Jan. 6 Select Committee – which referred Trump for criminal prosecution – were exercising their constitutional and legislative duties.
“When someone disagrees with you, that doesn’t make it illegal; that doesn’t even make it wrong,” Thompson said, “The greatness of this country is that everyone can have their own opinion about any subject, and so for an incoming president who disagrees with the work of Congress to say ‘because I disagree, I want them jailed,’ is absolutely unbelievable.”
When asked by The Grio if he is concerned about his physical safety amid continued public ridicule from Trump, whose supporters have already proven to be violent, Thompson said, “I think every member of Congress here has to have some degree of concern, because you just never know.”
This story is based on a report from The Grio.
Activism
Biden’s Legacy Secured with Record-Setting Black Judicial Appointments
His record surpasses previous efforts by his predecessors. President Jimmy Carter appointed 37 Black judges, including seven Black women. In stark contrast, Donald Trump’s first term resulted in only two Black women appointed out of 234 lifetime judicial nominations. The White House said Biden’s efforts show a broader commitment to racial equity and justice.
By Stacy M. Brown
WI Senior Writer
President Joe Biden’s commitment to diversifying the federal judiciary has culminated in a historic achievement: appointing 40 Black women to lifetime judgeships, the most of any president in U.S. history.
Biden has appointed 62 Black judges, cementing his presidency as one focused on promoting equity and representation on the federal bench.
His record surpasses previous efforts by his predecessors. President Jimmy Carter appointed 37 Black judges, including seven Black women. In stark contrast, Donald Trump’s first term resulted in only two Black women appointed out of 234 lifetime judicial nominations.
The White House said Biden’s efforts show a broader commitment to racial equity and justice.
Meanwhile, Trump has vowed to dismantle key civil rights protections, including the Justice Department’s Civil Rights Division.
“Having the Black woman’s experience on the federal bench is extremely important because there is a different kind of voice that can come from the Black female from the bench,” Delores Jones-Brown, professor emeritus at John Jay College of Criminal Justice, told reporters.
Lena Zwarensteyn of the Leadership Conference on Civil and Human Rights told reporters that these district court judges are often the first and sometimes the final arbiters in cases affecting healthcare access, education equity, fair hiring practices, and voting rights.
“Those decisions are often the very final decisions because very few cases actually get heard by the U.S. Supreme Court,” Zwarensteyn explained.
Biden’s nomination of Justice Ketanji Brown Jackson to the Supreme Court further reflects his commitment to judicial diversity. Jackson became the first Black woman to serve on the nation’s highest court.
Patrick McNeil, spokesperson for the Leadership Conference, pointed out that over half of Biden’s Black female judicial appointees have backgrounds as civil rights attorneys and public defenders, experience advocates consider essential for a balanced judiciary.
Meanwhile, Congress remains divided over the expansion of federal judgeships. Legislation to add 66 new judgeships—approved unanimously by the Senate in August—stalled in the GOP-controlled House until after the election. House Republicans proposed distributing the new judgeships over the next decade, giving three administrations a say in appointments. President Biden, however, signaled he would veto the bill if it reached his desk.
Rep. Jerry Nadler, D-N.Y., argued the delay was a strategic move to benefit Trump’s potential return to office. “Donald Trump has made clear that he intends to expand the power of the presidency and giving him 25 new judges to appoint gives him one more tool at his disposal,” Nadler said.
Arts and Culture
Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley
“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”
Special to the Post
It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks
Marks, who wrote and directed the musical, also owns PM Productions.
“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.”
Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”
In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.
Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.
Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.
“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.
Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.
Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.
Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.
Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.
Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.
“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”
Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.
“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”
The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.
Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”
Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”
Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”
“I’m so proud of my daughter,” said Smith.
Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.
“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.
The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com
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