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      March on Washington: the day MLK – and Dylan and Baez – made hope and history rhyme

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      One hundred years after the civil war, the treatment of African Americans persisted as a gaping wound in the purported land of the free. Then, suddenly in the 1960s, the bleeding from lynchings, bombings, beatings and shootings finally had a seismic effect. It galvanized the noble group who made the 60s so electric: the nimble, passionate and utterly fearless Black and white citizens who banded together to rescue America’s soul.By 1963, the Rev Martin Luther King Jr had become the leader of the first generation since the abolitionists who truly believed they had the power to heal the nation. Since founding his Southern Christian Leadership Conference (SCLC) in 1957, King had worked tirelessly to fulfill its mission: “To save the soul of America.”King turned 28 the week after he founded the SCLC. More successfully than anyone since Abraham Lincoln, this Baptist preacher united millions of Black and white Americans in a cause of moral righteousness. They were drawn to his brain, to his soul, to his deep baritone and to his bearing. The novelist Jose Yglesias noted that “King laughed with his whole body, like a man who trusts his feelings”.His Gandhi-inspired choice of weapons put him on an unassailable moral plane. In a nation drenched in violence, he ordered his foot soldiers to fight with nothing but courage, intelligence and decency. In spring 1963, the world recoiled at the cost of that bravery, when the commissioner of public safety in Birmingham, Alabama, Theophilus Eugene “Bull” Connor, used clubs, high-pressure hoses and snarling German shepherds to halt a march of more than 1,000 non-violent protesters.When the white establishment of Birmingham gave in and agreed to remove “whites only” signs on restrooms and drinking fountains and to desegregate lunch counters, white terrorists bombed the hotel room where King and his aides had been staying and the house of his brother, Alfred. Miraculously, none were injured.A few weeks later, civil rights leaders were meeting John Kennedy at the White House when he said, “Bull has probably done more for civil rights than anyone else.” At first they were shocked. Then they thought it was joke. Then they realized it was true. Nearly universal revulsion to Connor’s tactics was a big factor in finally pushing Kennedy go on television, in June, to propose a civil rights act, and to deliver probably the greatest speech of his life.Echoing King, Kennedy declared: “One hundred years of delay have passed since President Lincoln freed the slaves, yet their heirs, their grandsons, are not fully free. They are not yet freed from the bonds of injustice. They are not yet freed from social and economic oppression. And this nation, for all its hopes and all its boasts, will not be fully free until all its citizens are free … Now the time has come for this nation to fulfill its promise. The events in Birmingham and elsewhere have so increased the cries for equality that no city or state or legislative body can prudently choose to ignore them.”King was exhilarated. He told the president he had given “one of the most eloquent profound and unequivocal pleas for justice and the freedom of all men ever made by any president”. And yet even after that speech, Kennedy was so nervous that Congress would respond the wrong way to a massive demonstration in the capital, it took another five weeks before he publicly endorsed the March on Washington, whose 60th anniversary we celebrate today.Courtland Cox, an early leader of the Student Nonviolent Coordinating Committee (SNCC) and a key organizer of the March, recalled a day now remembered almost exclusively for the soaring words of King’s “I have a dream” speech but also a peak moment for the collaborative power of music and politics.A month before, Pete Seeger and Bob Dylan traveled to Greenwood, Mississippi, to perform at a voter registration rally.“It wasn’t just a concert,” said Cox. “It was a community event.”Dylan performed Only a Pawn in Their Game, about the assassination of the civil rights leader Medgar Evers just a few weeks earlier. That was also one of the songs Dylan sang before 250,000 people in Washington. When Lena Horne was introduced, she uttered a single word: “Freedom.”Seeger had performed the most important musical pollination of all, when in 1957 King visited the Highlander Folk School in Tennessee, a training camp for civil rights workers. When Seeger sang We Shall Overcome, it was the first time King heard it. He fell in love with it. In Washington, it was sung by the Freedom Singers, accompanied by Dylan, Joan Baez, Peter, Paul and Mary, and Theodore Bikel – and nearly everyone in the audience.Cox had spent years registering voters in places where “if we got caught we would be shot. Alabama was the most dangerous. In Mississippi I always thought I could get away from a bullet, compared to Alabama where they used bombs and dynamite. I thought your chances were better with a bullet than dynamite.“I’m not sure how you can really express it. During the most stressful things the music would be the wind beneath your wings. It’s one thing singing We Shall Overcome when the police were out there with tear gas. It’s sung in a way that maintains your determination. The music had advocacy.”Peter Goldman wrote all the most important Newsweek stories about civil rights. So he traveled to Washington for the march.He said: “During the mid day break between the mostly entertainment morning sessions and the afternoon speechifying session, some of the musicians were hanging out in the rotunda of the Lincoln Memorial. I’m standing there and Joan Baez walks up behind Bob Dylan and pats him on the butt. ‘Let’s sing, Bobby,’ she said. So the two of them start on a Dylan song. They were joined by Peter and Mary – Paul was elsewhere. They went on for about an hour. Folk songs, freedom songs. Dylan songs.”How big was the audience?“Me. It was one of my luckier days.”In his superb memoir, Chasing History, the great reporter Carl Bernstein writes that the Washington Star deployed more than 60 reporters, installed 10 special telephones up and down the mall, and even commandeered a helicopter to fly film to the newsroom. And yet, somehow, the lead stories in both the Star and the Washington Post failed to mention the main event: King’s extraordinary speech.James Reston, the celebrated New York Times Washington bureau chief, did not make the same mistake. In a front-page analysis, he wrote that King “touched all the themes of the day, only better than anybody else.“He was full of the symbolism of Lincoln and Gandhi, and the cadences of the Bible. He was both militant and sad, and he sent the crowd away feeling that the long journey had been worthwhile.”Bernstein felt the same way.“For me, listening to Dr King’s speech, with its emotive power, and witnessing the sheer numbers of Black and white people marching together, I was certain I had experienced the most powerful moment of my lifetime – the ‘someday’ from We Shall Overcome was drawing nearer.” More

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      Al Sharpton on 60 years since the civil rights march on Washington – podcast

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      On 26 August, Rev Al Sharpton, Martin Luther King III, and other civil rights activists will commemorate the 1963 march on Washington, which was organised to advocate for civil and economic rights for African Americans.
      This week, Jonathan Freedland sits down with Sharpton to discuss why he believes Martin Luther King Jr’s ‘I have a dream’ speech has been abused by some on the right, why he is still fighting for police reform, and how James Brown was so influential on his life

      How to listen to podcasts: everything you need to know More

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      Into the Bright Sunshine: how Hubert Humphrey joined the civil rights fight

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      Seventy-five years ago this month, at a fractious Philadelphia convention, Hubert Humphrey delivered a famous challenge: “The time has arrived in America for the Democratic party to get out of the shadows of states’ rights and to walk forthrightly into the bright sunshine of human rights.”In a new book, Into the Bright Sunshine: Young Hubert Humphrey and the Fight for Civil Rights, Samuel G Freedman helps explain the influences and experiences that led Humphrey, then a 37-year-old midwestern mayor, to take on segregationists in his own party.Humphrey won passage of a bold civil rights platform, triggering southern delegates to nominate Strom Thurmond as a “Dixiecrat” candidate for president. The same year, Humphrey won a race for Senate from Minnesota, launching a national career that culminated in his nomination for president, and defeat by Richard Nixon, in 1968.Freedman describes how Humphrey, who was born in South Dakota, saw Jim Crow up close as a graduate student at Louisiana State University.“Given the deliberate and scrupulous erasure of Black people from LSU, it required not flagrant bigotry but mere passivity for a white student to accept segregation as something like natural law,” Freedman writes. “Humphrey’s eyes were already too open for such obliviousness.”A sociology professor and German émigré, Rudolf Heberle, had a particularly important role in shaping Humphrey’s outlook. As Freedman recounts: “The Nazis’ regime of murderous extremism came to power, in Heberle’s analysis, not by a coup from the armed fringe but thanks to ‘mass support … from middle layers of society’. Reasonable people were entirely capable of acting in morally unreasonable ways and rationalizing away their actions. Heberle had seen and heard it during his fieldwork.”Heberle was suggesting that “the Jew in Germany was the Black in America”.After LSU, Humphrey returned to Minneapolis, where two locals – one Jewish, one Black – helped stiffen his resolve: Sam Scheiner, an attorney who led the Minnesota Jewish Council, and Cecil Newman, founder of the Minneapolis Spokesman newspaper.“There were people from throughout [Humphrey’s] life who recognized something in him – skills, yes, but something larger, a kind of destiny – more than he recognized it in himself,” Freedman writes. “He was their vessel and their voice, the vessel in which to pour their passion for a more just America and the voice to amplify that passion insistently enough to affect a nation whose soul was very much at stake.”Minneapolis’s track record on race has been in the news again. Last month, the US justice department said the 2020 police murder of George Floyd was part of a “pattern or practice” of excessive force and unlawful discrimination against African Americans.Nearly 80 years earlier, Humphrey tried to combat racism and antisemitism in the city.Minneapolis was infamous for antisemitism. In the 1930s, Freedman points out, a homegrown fascist group, the Silver Legion of America, called for “returning American Blacks to slavery and disenfranchising, segregating and finally sterilizing American Jews”. In 1946, the editor of the Nation, Carey McWilliams, called the city “the capital of antisemites”.After running for mayor in 1943, Humphrey mounted another run in 1945. In the year American soldiers defeated Hitler’s forces in Europe, gangs attacked and robbed Jews in Minneapolis, sometimes yelling “Heil, Hitler!” Local leaders were ineffective. But Humphrey, Freedman writes, “plainly shared the Jewish community’s belief that the problem went way deeper than mere hoodlums. For the first time in Minneapolis’s decades-long history of racism and antisemitism, a political candidate was placing those issues at the center of a campaign.”Humphrey offered a five-point plan, including the creation of an organization to combat bigotry. He won. Two months into his term, he was confronted with the wrongful arrest of two Black women. Newman, the Black newspaper publisher, called Humphrey at home. The mayor ordered the women released and the charges dropped.Later, Humphrey won passage of an anti-discrimination law and established a council on human relations, to investigate discrimination against racial and religious minorities. For his efforts, he faced an assassination attempt and threats from Nazis. But Humphrey turned the city around.“Minneapolis stood as virtually the only city in America where a wronged job applicant could count on the government as an ally,” Freedman writes.Humphrey used such work as a springboard, championing civil rights for the nation.“My friends, to those who say that we are rushing this issue of civil rights, I say to them we are 172 years late,” he said at the 1948 convention, adding: “This is the issue of the 20th century.”In a 2010 documentary, Hubert H Humphrey: The Art of the Possible, former president Jimmy Carter, who was 23 when Humphrey spoke in Philadelphia, called the speech “earth-shattering, expressing condemnation of the racial segregation that had been in existence ever since the end of the civil war. And he was the only one that was courageous enough to do so”.When Humphrey got to Washington, he found himself ostracized by southern Democrats who dominated the Senate. As he recalled, “After all, I had been the destroyer of the Democratic party, the enemy of the south. Hubert Humphrey, the [N-word] lover.’ … I never felt so lonesome and so unwanted in all my life as I did in those first few weeks and months.”But he continued to champion equal rights, an effort that culminated, as majority whip, with breaking a southern filibuster to help win passage of the Civil Rights Act of 1964.Humphrey became vice-president, to Lyndon Johnson, then ran for president himself. But “for the rest of his life,” Freedman writes, he “kept the tally sheet on which he had marked the senators’ vote on cloture, the procedure that ended the filibuster and brought the bill to its successful enactment.”
      Into the Bright Sunshine is published in the US by Oxford University Press
      Frederic J Frommer is the author of books including You Gotta Have Heart: Washington Baseball from Walter Johnson to the 2019 World Series Champion Nationals More

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      The Movement Made Us: true story of family and the civil rights struggle

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      In the crowded field of books about social activism, truth is the element that distinguishes good from great. In his first book, David Dennis Jr has mastered the process.The Movement Made Us: A Father, a Son, and a Legacy of a Freedom Ride is written with his father, David Dennis Sr, a hero of the civil rights movement of the 1960s. The book opens with raw truth and maintains that standard, never using ambiguity as a shield against accountability.Dennis Sr never intended to be involved in the movement. In fact, the life he dreamed of when he went to Dillard University in New Orleans had nothing to do with activism at all. He wanted to be an engineer.When he started attending meetings of the Congress of Racial Equality (Core, which he would direct in Mississippi), he did so not out of bravery, nor driven by a desire to fight for a better world for Black people. Nor was he driven by a refusal to stand idle against white nationalism. At first, he was driven by motives familiar to any freshman who finds himself the first in his family to attend college. He wanted to meet attractive girls, keep his head down, finish school and get a job.Whether you consider that selfish, or self-preservation, it is unmistakably human. The Movement Made Us never shies away from the humanity of our civil rights heroes and heroines and the truth about a country that forced even the least prepared “soldiers” to fight a war that still hasn’t ended.In a chapter entitled God and Fear, Dennis Sr and Jr invite readers to experience the tension in the room as figures including John Lewis, Dr Martin Luther King Jr, Andrew Young, CT Vivian, Wyatt Tee Walker and the director of Core, James Farmer, discuss whether a freedom ride – an organized incursion into the south, by public transport and in support of voting rights – should be cancelled because of extreme threats and the promise of jail on arrival.King objects. Questions arise about whether he is too important to the movement to ride. “He ain’t special,” one attendee shouts. King’s commitment was never in question but something far worse was being projected to other leaders: his assumed “superiority”. Dennis Sr and Jr draw readers into such tensions, allowing them to sit with the fear, anger and authenticity of the moment.Describing pivotal historic moments, the authors use truth as their compass, unafraid of where it may lead. No subject is above examination. The truth of our country is far more brutal than many Americans want to believe.Americans often see their history through rose-colored glasses. The Movement Made Us holds history to the sun, willing to let the rays burn. In a chapter entitled A Weekend in Jackson, the young activist Joan Johnson is questioned by the police who want to know about the “leaders” of the National Association for the Advancement of Colored People.“Lil’ [n-word] you in the NAACP,” the cop spat.“Yes,” she declared.Her words met with a beating. She fell to the floor, tried to protect her head. The police kicked her and demanded to know “who runs the NAACP?”“The people.”Each time she was asked the same question, Johnson gave the same answer. She was beaten unconscious, left in a pool of her own blood. The authors reveal that she was 16 years old at the time. The rawness of the image leaves no room to pretend that such domestic terrorism precluded the torture of women and children.America and the police force it protects and serves are not alone in being held to the light. The authentic life of David Dennis Sr, college student turned civil rights veteran, is examined closely too.After his close friend Medgar Evers was shot dead on his own front lawn, Dennis Sr nearly succumbed to survivor’s guilt and grief. The trauma and turmoil he describes will pose questions in the mind of the reader. Questions like, “What becomes of those who survive when their fellow soldiers are murdered with impunity? Where do their bodies and minds store the pain from the emotional and physical violence inflicted? What happens to marriages and families when one spouse promises for ever but can barely imagine a world beyond tomorrow?”This book addresses these questions with truth. Father and son wrestle with their answers. There are no clear winners. Noting how the family became an unwilling casualty in the war, Dennis Jr shares what it was like to be the son of a civil rights legend who barely escaped his own share of assassination attempts:
      The white men who fired shots at your back may have missed you but they hit our lineage. They left bullet holes in the foundation upon which your future families are built.”
      The Movement Made Us is not for those unprepared for veracity. Readers will experience a father sometimes reluctant to revisit the past and a son navigating his identity as a griot, recording history while protecting the father he loves.At its core, The Movement Made Us is about legacy, leadership, healing and accountability. It is more than a story about a father and his son. It is more than a story about the civil rights movement. It is a master class on allowing truth to anchor you and finding the balance between accountability and honoring. This is a lesson that should be replicated in America as a whole.Dennis Jr states: “This is the part where we break and tear the things that have been fixed in place.” His words are directed towards his father, but for a country in need of real healing, it is an evergreen declaration.
      The Movement Made Us is published in the US by Harper More

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      Martin Luther King, founding father: Jonathan Eig on his epic new biography

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      Jonathan Eig’s new biography of Martin Luther King Jr was only published last week but it has already been hailed by the Washington Post as “the most compelling account of King’s life in a generation”. The documentarian Ken Burns described it as “kind of a miracle” and the New York Times declared it “supplants David J Garrow’s [Pulitzer-winning] 1986 biography, Bearing the Cross, as the definitive life of King”.In a remarkable act of generosity, Garrow opened his files to Eig and acted as his consultant. Garrow now agrees with other critics, calling Eig’s book “a great leap forward in our biographical understanding” and “the most comprehensive and original King biography to appear in over 35 years”.Eig is a former Wall Street Journal reporter who has written five other highly regarded books, including bestselling biographies of Lou Gehrig and Muhammad Ali. This week, Eig chatted about how his book on King came about and what he hopes readers will take from it.The Guardian: I read somewhere that the new book came out of your work on Ali.Eig: Yeah, it was completely organic. I was interviewing people who knew both of them and every time they would start talking about King, I would just get more curious. So I felt like I already had their phone numbers. I could call them back and get another meeting and this time talk about King. And I could do that before they got any older.The Guardian: When I wrote The Gay Metropolis I started with the oldest people I could find. Did you do that?Eig: 100%. It was like actuarial tables: factor for age and health and go after those who are the most frail. I hate to be crude about it, but that’s exactly what I did. Basically I was calling everybody all at once.The Guardian: How long did this one take?Eig: This one was six years. That’s full-time work, like 60 hours a week for six years.The Guardian: You had access to thousands of FBI files that weren’t available to previous biographers. How did that come about?Eig: I got somewhere between 5,000 and 10,000 new documents. Donald Trump signed an order to release documents that were gathered during congressional hearings on JFK’s assassination. And I think accidentally that also led to the release of all the MLK FBI stuff, because the Church committee [a 1975-76 Senate panel on government intelligence activities] investigated them both.I really think Dave Garrow was the only one who went through every file. I went through a lot of them and Garrow was kind of like the first reader and he would tell me what was important and I, of course, looked through a lot on my own. But I don’t really know that too many other people were out there looking at this stuff.The Guardian: You did more than 200 interviews. Why were there so many people who knew King who were much more forthcoming than they had been before?Eig: Because they were older and because Coretta [Scott King, King’s wife] was gone. They were more comfortable saying things that they wouldn’t have said before. Certainly when it came to talking about Dorothy Cotton [one of King’s mistresses], people were really reluctant to say anything while Coretta was alive.The Guardian: I always tell my young friends writing a great book is all about what you leave out. Do you agree?Eig: (chuckling) Yeah. Even at 600-something pages! I left out a lot. At one point – I’ll be honest – I asked Colin Dickerman [his original editor] if I could do a three-volume work. I wanted to do one from childhood to Montgomery and then from Montgomery to maybe Selma and then Selma to death. Wisely, Colin disabused me of that idea. I’m trying to give the reader not just a good book but a readable book. I told my wife, I want people to cry at the end of this book – and they’re not gonna cry if I’ve put them to sleep!The Guardian: What do you know now that you didn’t know when you wrote your first book, about Lou Gehrig?Eig: It took me a couple of books to figure out that journalists’ archives are really valuable … When you find a good interview a journalist did with one of your subjects, go to his archives and see if the notes are there, see if the tapes are there.I got David Halberstam’s notes from his interview with King and he describes King taking his kids to the swimming pool and his daughter falls and scrapes her knee. And King grabs a piece of fried chicken and rubs it on her knee and says, “You know, chicken is the best thing for a cut.” It’s just a sweet little moment that didn’t make Halberstam’s story. But it was in his notebook.The Guardian: You describe King as one of America’s founding fathers. I’d never seen that before.Eig: Yeah. It was my idea. It was inspired somewhat by reading some of the 1619 Project. They talk about the idea that Black activists were seeking to force the country to live up to the words of the founding fathers. And that’s what kind of triggered it for me. I think you can make an argument that King more than anyone else is a founding father. He’s trying to create the nation as it was meant to be.The Guardian: The great Texas journalist Molly Ivins said something similar: “There’s not a thing wrong with the ideals and mechanisms outlined and the liberties set forth in the constitution of the US. The only problem is the founders left a lot of people out of the constitution. They left out poor people and Black people and female people. It is possible to read the history of this country as one long struggle to extend the liberties established in our constitution to everyone in America.”Eig: Yeah, I, I like that.The Guardian: What would you most like people to feel from reading your book?Eig: I hope people see King as a human being and not this two-dimensional character we’ve made him into since he became a national holiday and monument. [They should know] he had feelings and suffered and struggled and had doubts, because I think that makes his heroism even greater.I certainly want people to appreciate just how radical he was. A lot of people reduce him to this very safe figure who was all about peace, love and harmony. But he was challenging us in ways that made a lot of people uncomfortable, which is partly why the FBI came down on him the way they did.The Guardian: The thing that I think is probably most forgotten about him is that he was as anti-materialism as he was anti-militarism. Would you agree?Eig: That’s right. And it drove Coretta crazy because he would never even buy nice stuff for the house. And of course he left no money behind when he died. So he took it really seriously.
      King is published in the US by Farrar, Straus and Giroux More

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      ‘I did all that I could’: A look back at the life and career of Harry Belafonte – video

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      Harry Belafonte, a trailblazing Caribbean-American artist, has passed away at the age of 96 due to congestive heart failure, according to his spokesperson who gave the news to the New York Times. Belafonte was a multifaceted talent who made an indelible impact on music and film. He was not only a chart-topping singer but also a renowned actor and television personality, known for his captivating performances in films such as Buck and the Preacher and Island in the Sun.

      However, Belafonte’s legacy extends far beyond his artistic achievements. Throughout his career, he used his platform to advocate for racial and social justice in America and around the world. Belafonte was a prominent civil rights activist who worked closely with Dr Martin Luther King Jr and was a key figure in the movement for racial equality. More

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      Harry Belafonte, singer, actor and tireless activist, dies aged 96

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      Harry Belafonte, the singer, actor and civil rights activist who broke down racial barriers, has died aged 96.As well as performing global hits such as Day-O (The Banana Boat Song), winning a Tony award for acting and appearing in numerous feature films, Belafonte spent his life fighting for a variety of causes. He bankrolled numerous 1960s initiatives to bring civil rights to Black Americans; campaigned against poverty, apartheid and Aids in Africa; and supported leftwing political figures such as Cuba’s Fidel Castro and Venezuela’s Hugo Chavez.The cause of death was congestive heart failure, his spokesman told the New York Times. Figures including the rapper Ice Cube and Mia Farrow paid tribute to Belafonte. The US news anchor Christiane Amanpour tweeted that he “inspired generations around the whole world in the struggle for non-violent resistance justice and change. We need his example now more than ever.”Bernice King, daughter of Dr Martin Luther King, shared a picture of Belafonte at her father’s funeral and said that he “showed up for my family in very compassionate ways. In fact, he paid for the babysitter for me and my siblings.” The Beninese-French musician Angélique Kidjo called Belafonte “the brightest star in every sense of that word. Your passion, love, knowledge and respect for Africa was unlimited.”Belafonte was born in 1927 in working-class Harlem, New York, and spent eight years of his childhood in his impoverished parents’ native Jamaica. He returned to New York for high school but struggled with dyslexia and dropped out in his early teens. He took odd jobs working in markets and the city’s garment district, and then signed up to the US navy aged 17 in March 1944, working as a munitions loader at a base in New Jersey.After the war ended, he worked as a janitor’s assistant, but aspired to become an actor after watching plays at New York’s American Negro Theatre (along with fellow aspiring actor Sidney Poitier). He took acting classes – where his classmates included Marlon Brando and Walter Matthau – paid for by singing folk, pop and jazz numbers at New York club gigs, where he was backed by groups whose members included Miles Davis and Charlie Parker.He released his debut album in 1954, a collection of traditional folk songs. His second album, Belafonte, was the first No 1 in the new US Billboard album chart in March 1956, but its success was outdone by his third album the following year, Calypso, featuring songs from his Jamaican heritage. It brought the feelgood calypso style to many Americans for the first time, and became the first album to sell more than a million copies in the US.The lead track was Day-O (The Banana Boat Song), a signature song for Belafonte – it spent 18 weeks in the UK singles chart, including three weeks at No 2. His version of Mary’s Boy Child was a UK chart-topper later that year, while Island in the Sun reached No 3. He released 30 studio albums, plus collaborative albums with Nana Mouskouri, Lena Horne and Miriam Makeba. The latter release won him one of his two Grammy awards; he was later awarded a lifetime achievement Grammy and the Academy’s president’s merit award.Bob Dylan’s first recording – playing harmonica – was on Belafonte’s 1962 album, Midnight Special. The previous year, Belafonte had been hired by Frank Sinatra to perform at John F Kennedy’s presidential inauguration.Belafonte maintained an acting career alongside music, winning a Tony award in 1954 for his appearance in the musical revue show, John Murray Anderson’s Almanac, and appearing in several films, most notably as one of the leads in Island in the Sun, along with James Mason, Joan Fontaine and Joan Collins, with whom he had an affair. He was twice paired with Dorothy Dandridge, in Carmen Jones and Bright Road, but he turned down a third film, an adaptation of Porgy and Bess, which he found “racially demeaning”.He later said the decision “helped fuel the rebel spirit” that was brewing in him, a spirit he parlayed into a lifetime of activism, using his newfound wealth to fund various initiatives. He was mentored by Martin Luther King Jr and Paul Robeson, and bailed King out of a Birmingham, Alabama, jail in 1963 as well as co-organising the march on Washington that culminated in King’s “I have a dream” speech. He also funded the Freedom Riders and SNCC, activists fighting unlawful segregation in the American south, and worked on voter registration drives.He later focused on a series of African initiatives. He organised the all-star charity record We Are the World, raising more than $63m for famine relief, and his 1988 album, Paradise in Gazankulu, protested against apartheid in South Africa. He was appointed a Unicef goodwill ambassador in 1987, and later campaigned to eradicate Aids from Africa.After recovering from prostate cancer in 1996, he advocated for awareness of the disease. He was a fierce proponent of leftwing politics, criticising hawkish US foreign policy, campaigning against nuclear armament, and meeting with both Castro and Chavez. At the meeting with Chavez, in 2006, he described US president George W Bush as “the greatest terrorist in the world”. He also characterised Bush’s Black secretaries of state Colin Powell and Condoleezza Rice as being like slaves who worked in their master’s house rather than in the fields, criticisms that Powell and Rice rejected.He was a frequent critic of Democrats, particularly Barack Obama, over issues including Guantanamo Bay detentions and the fight against rightwing extremism. He criticised Jay-Z and Beyoncé in 2012 for having “turned their back on social responsibility … Give me Bruce Springsteen, and now you’re talking. I really think he is Black.” Jay-Z responded: “You’re this civil rights activist and you just bigged up the white guy against me in the white media … that was just the wrong way to go about it.”He continued to take occasional acting roles. In 2018, he appeared in the Spike Lee movie BlacKkKlansman. In 2014, 12 Years a Slave director Steve McQueen announced he was working with Belafonte on a film about Paul Robeson, though it wasn’t developed.Belafonte was married three times, first to Marguerite Byrd, from 1948 to 1957, with whom he had two daughters, activist Adrienne and actor Shari. He had two further children with his second wife, Julie Robinson: actor Gina and music producer David. He and Robinson divorced after 47 years, and in 2008 he married Pamela Frank, who survives him. More

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      Baldwin v Buckley: how the ‘debate play’ made a riveting resurgence

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      James Graham’s play Best of Enemies recently brought to life the gladiatorial televised clashes between Gore Vidal and William F Buckley Jr in the lead-up to the 1968 US presidential election. Tucked inside that drama was a fleeting mention of the historic debate between the white, conservative Buckley and the Black American civil rights activist James Baldwin. It felt, potentially, like it could make a play in its own right.A new production stages just that momentous confrontation in verbatim form. Debate: Baldwin v Buckley re-enacts in full the Cambridge University Union head-to-head from February 1965, when it was recorded and broadcast by the BBC.First re-created on screen during the lockdown of 2020, it has since been staged off-Broadway and now makes its UK premiere at Stone Nest in London’s West End. Adapted and directed by Christopher McElroen, it features Teagle F Bougere as Baldwin and Eric T Miller as Buckley.Baldwin and Buckley have half an hour a piece to make their case for or against the motion of the debate: “The American Dream is at the Expense of the American Negro.” We follow their logic without interruption in the debating chamber, Baldwin arguing for civil rights and for America to acknowledge the sins of its past, while Buckley makes the case for white conservative values.McElroen says the decision to stage the debate this way came after the murder of George Floyd, in the midst of the Black Lives Matter protests. “It addressed the racial conflict that the country was navigating yet again.”Political theatre has a long and fine British tradition, from Shakespeare’s history plays to David Hare’s work and Graham’s own oeuvre – which includes This House and The Vote. But the “debate play” is something apart; drawing on the ancient Athenian art of rhetoric and persuasion, it speaks to us directly of issues in our world. It is, by comparison, a rarity these days but we see it in such highly compelling instances as Aaron Sorkin’s adaptation of To Kill a Mockingbird, whose courtroom debate was arguably its strongest feature. There is also David Mamet’s recently revived and volcanic two-hander, Oleanna, which is not formally constructed as a debate but presents two oppositional viewpoints on political correctness in university campuses with immense force, and allows us to view its subject from both sides.An even more current example is the New Diorama’s musical, After the Act, which features parliamentary debate around Section 28 (which legislated against teaching homosexuality in British schools) and manages to bring satirical comedy to the debate form.In the case of McElroen’s production, nothing extraneous is added to the words exchanged between Baldwin and Buckley. Unlike Best of Enemies, which couches the infamous debates within greater fictive material, this is a pure reconstruction of the original. “To frame the debate within a bigger story would be like killing a fly with a sledgehammer,” says McElroen. “The material is James Baldwin and William F Buckley Jr – two amazing intellectuals on opposite sides of the political spectrum. The conflict is inherent in that, you don’t need to do anything to it.”The setting is modern, apart from an old TV that replays some of the original footage, and there is no use of theatrical lighting or sound. Yet it is utterly captivating. The fierce eloquence and intellectual rigour of Baldwin and Buckley’s arguments have not lost any of their power. There is an argument to suggest that the most powerful part of Best of Enemies is Vidal and Buckley’s debates themselves, which offer a ferocious sense of spectacle – and that the fiction is secondary.The fact that Buckley airs such critical, even offensive, views on the civil rights movement and effectively mobilises a defence of white supremacy, brings its own questions. Would this debate ever be sanctioned now at a university union, in our era of de-platforming – and should it be?Yes, says McElroen, because the divided politics are still there. After every show there is a live discussion with the audience, and in some venues the after-show conversations are proof of how some have moved on from this debate around race while others remained entrenched. The first venue in which Baldwin v Buckley played live was the Women’s National Republican Club in New York. “They identified strongly with Buckley’s arguments,” says McElroen, “and they identified the Black Lives Matter movement to be a radical group not dissimilar from the way Buckley viewed the civil rights movement.”The other issue it raises is whether we have lost the art of civilised debate – and more specifically, if the demand for “total” agreement is eroding the space and permission for true debate and disagreement. If this debate were taking place today, McElroen thinks, Buckley would have stopped Baldwin by his third or fourth word and the discussion would have descended into chaos.If a more recent political debate were given similar verbatim treatment in dramatic form – such as the televised Trump and Biden presidential face-offs – it might be highly entertaining to watch for the heated interruptions and put-downs. But contemporary political debates rarely allow the opponent the time and breadth to make their argument, uninterrupted, in the way that Baldwin and Buckley did.There is a strain, in debate drama, that it is striving to be more than just theatre, and that it is ultimately trying to galvanise the audience towards a change of heart or mind outside the auditorium through its act of persuasion.McElroen is staging his play across the US – from Tennessee to southern California – in the lead-up to the next presidential elections, travelling out of the “liberal bubble” and into Republican heartlands. “To the extent that a piece of theatre can affect change, we hope to use this to spark dialogue. What we try and do at the end of the performance is to focus on civility, and on what actually unites us as opposed to the things that divide us,” he says.“The odd thing about the debate between Baldwin and Buckley is that they find consensus in their arguments about the value of America and the American way of life. We need to do better collectively to hear what the other side is saying. If we do that, we’ll be surprised at how much consensus exists.”
      At Stone Nest, London, until 8 April. More