The Indian Frida Kahlo

The woman’s body is luscious but self-contained, suggesting that this is not an erotic pose, not quite. She is naked from the waist up, her heavy breasts seeming to offer an invitation, yet her thoughtful glance, staring out beyond the picture, suggests that she has other things on her mind.

The painting, titled Self-Portrait as Tahitian, poses a question. If the artist isn’t Tahitian, nor, as her dark skin and full lips suggest, European, what are her origins?

In fact, this painting is the work of the important, but now little-known, 20th-century Hungarian-Indian artist Amrita Sher-Gil, whose brief and brilliant career ended with her tragic death at the age of 28.

Sixty years before Tracey Emin, Sher-Gil scandalised audiences around the world by putting women’s bodies – her own, her friends’ and those of ordinary Indians – at the centre of her extraordinary art.

By the time she died in 1941 her paintings were only beginning to become popular in India and in Europe. ‘I hate cheap emotional appeal,’ she declared as she went about challenging the clichés of the ‘exotic East’ – bejewelled figures posing in splendour with an elephant somewhere in the mix – with her truthful painting, full of the heat and dust of 20th-century India as it emerged from a century of British rule.

Often referred to as ‘the Indian Frida Kahlo’ because of the revolutionary way she blended the outlines of modern European painting with ‘primitive’ forms, Amrita led a life as compelling and unorthodox as her art.

What makes her story even more fascinating is that her early years were recorded for posterity by her father, a photographer – and offer insights into both Amrita herself and European and Indian high society in the 1920s.

Born on the eve of the First World War, Amrita Sher-Gil grew up in Budapest. Her parents were Marie Antoinette Gottesmann, a Hungarian opera singer, and Umrao Sher-Gil, a Sikh aristocrat with a deep scholarly interest in Sanskrit and astronomy.

The pair first met in 1912, while Marie Antoinette was touring Lahore, and the following year moved to her home city, where they were forced to remain until the end of the war.

The Sher-Gil family lived an unconventional life – one filled with grand political connections and glittering diplomacy, as well as intellectual enquiry and artistic endeavour. With so many people displaced during the war, the Sher-Gils were less conspicuous in Budapest than they might otherwise have been.

None the less, Umrao, who was an early adopter of camera technology, became fascinated by the way he could use home photography to document the unusual circumstances of his family. One of the earliest pictures of Amrita was taken in 1913 and shows Marie Antoinette sitting up in bed proudly, an extravagant bow in her hair and her baby swaddled in a froth of broderie anglaise. To one side of this deeply conventional tableau sits the proud father, neatly dressed in a conservative Western suit, incongruously topped with a turban.

 

Richie Havens Dead: Woodstock Singer Dies Of Heart Attack At 72 (video)

Richie Havens, the folk singer and guitarist who was the first performer at Woodstock, died Monday at age 72.

Havens died of a heart attack in New Jersey, his family said in a statement. He was born in Brooklyn.

Havens was known for his crafty guitar work and cover songs, including his well-received cover of Bob Dylan’s “Just Like a Woman.”

His performance at the three-day 1969 Woodstock Festival, where headliners included Jimi Hendrix, was a turning point in his career. He was the first act to hit the stage, performing for nearly three hours. His performance of “Freedom,” based from the spiritual “Sometimes I Feel Like a Motherless Child,” became an anthem.

Havens returned to the site during Woodstock’s 40th anniversary in 2009.

“Everything in my life, and so many others, is attached to that train,” he said in an interview that year with The Associated Press.

Woodstock remains one of the events that continues to define the 1960s in the popular imagination. Performers included The Who, Janis Joplin, Crosby, Stills, Nash & Young and dozens of others, and the trippy anarchy of Woodstock has become legendary. There was lots of nudity, casual sex, dirty dancing and open drug use. The stage announcer famously warned people to steer clear of the brown acid.


Havens had originally been scheduled to go on fifth but had been bumped up because of travel delays. Festival producer Michael Lang said in the book “The Road to Woodstock” that he chose Havens “because of his calm but powerful demeanor.”

His performance lasted hours because the next act hadn’t showed up.

“So I’d go back and sing three more,” Havens said in an interview with NPR. “This happened six times. So I sung every song I knew.”

Havens’ website said that he had kidney surgery in 2010 and that he never recovered enough to perform concerts like he used to. He performed at Bill Clinton’s presidential inauguration in 1993.

Havens, who released his breakthrough, “Mixed Bag,” in 1967, released more than 25 albums. He sang with doo-wop groups on the street corner in his Brooklyn neighborhood at an early age. At 20, he moved to Manhattan’s Greenwich Village, where he performed poetry, listened to folk music and learned how to play the guitar.

“I saw the Village as a place to escape to in order to express yourself,” he said in his biography.

Stephen Stills said he remembered hanging with Havens in Greenwich Village and experiencing the singer’s talent.

“Richie Havens was one of the nicest most generous and pure individuals I have ever met,” Stills said in a statement, adding that Havens was unique and could “never be replicated.”

“When I was a young sprite in Greenwich Village, we used to have breakfast together at the diner on 6th Avenue next to The Waverly Theatre. He was very wise in the ways of our calling. He always caught fire every time he played.”

Havens’ last album was 2008’s “Nobody Left to Crown.” He also started his own record label called Stormy Forest in 2000.

“I really sing songs that move me,” he said in an interview with The Denver Post. “I’m not in show business; I’m in the communications business. That’s what it’s about for me.”

Havens also became an actor in the 1970s and was featured in the original stage presentation of The Who’s “Tommy.” He appeared in the 1974 film “Catch My Soul” and co-starred with Richard Pryor in “Greased Lightning” in 1977.

Havens was the eldest of nine children. He is survived by his three daughters and many grandchildren.

A public memorial for Havens will be planned.

Read More >>>>>

Reese Witherspoon’s Clean Image Should Fully Recover After Arrest

Reese Witherspoon’s professional image is so squeaky clean that she got laughs on a late-night show earlier this year for pretending to buy bottles of cognac and tequila.

Her recent arrest and admission that she “clearly had one drink too many” could be more damaging to her brand than it might be for someone with a less-wholesome image, experts say, but because she apologized quickly and sincerely, her career is likely to fare just fine.

“Reese Witherspoon has become successful by positioning herself as America’s sweetheart – a likable, friendly, non-threatening star – and this fundamentally disrupts that image,” said branding expert Dorie Clark, author of “Reinventing You.” “It’s far worse for Reese Witherspoon to be arrested (image-wise) than it would be for Lindsay Lohan. … I think (Witherspoon) understands the severity of the situation and that’s why she issued the apology so quickly.”

The 37-year-old Oscar winner was arrested in Atlanta after a state trooper said she wouldn’t stay in the car while her husband, Hollywood agent Jim Toth, was arrested and accused of driving under the influence of alcohol.

“Do you know my name?” Witherspoon is quoted as saying in the trooper’s report of the early Friday incident. She also said: “You’re about to find out who I am” and “You’re about to be on national news,” according to Trooper First Class J. Pyland.

Witherspoon apologized shortly after news of the arrests broke Sunday and attended a New York screening of her new film, “Mud,” that night as scheduled. But she canceled appearances this week on NBC’s “Late Night With Jimmy Fallon” and “Good Morning America” on ABC.

“I clearly had one drink too many and I am deeply embarrassed about the things I said,” she said in a statement. “It was definitely a scary situation and I was frightened for my husband, but that is no excuse. I was disrespectful to the officer who was just doing his job. The words I used that night definitely do not reflect who I am. I have nothing but respect for the police and I’m very sorry for my behavior.”

Her publicist, Meredith O’Sullivan Wasson, declined comment Monday.

Longtime Hollywood publicist Michael Levine said Witherspoon’s timely apology helps mitigate any lasting damage to her image, saying she, “quickly removed the poison from her system.”

Veteran publicist and vice chairman of Reputation.com Howard Bragman agreed.

“This is a speed bump, not a sinkhole,” he said. “She made a mistake, she apologized. She didn’t even have the DUI; it was her husband. Is it embarrassing? Yeah, a little bit. But it’s not a game changer in terms of her career.”

Witherspoon won an Academy Award for playing June Carter Cash in 2005’s “Walk the Line.” She married Toth, an agent at CAA, in 2011. They have a baby son, Tennessee, who was born in September of 2012.

Bragman suspects the municipal charges against the actress will be dropped. She has a court date set for May 22. Toth’s case is set to be heard May 23.

Read More >>>>>>>>>

Visionaries and Voices: The Evolution of a Nonprofit Gallery BY MARIA SEDA-REEDER · APRIL 3RD, 2013 · VISUAL ART

Visionaries and Voices (V&V) has experienced many changes in the decade since it was first incorporated as a nonprofit organization. During the late 2000s, V&V put on countless exhibitions (inside and outside of their own galleries), hosted street festivals, outgrew several studios and opened a second location in Tri-county to serve clients farther from their Northside gallery. As the organization has evolved, so has its administrators’ approach to curating exhibitions.

Local curator Matt Distel was named executive director in early 2012, and his fine arts background (consisting of everything from running his own gallery in Camp Washington during the late ‘90s to working with and for most of the art museums in town and nationally) was no doubt a major factor in his selection as candidate. While he has recently been appointed as both Adjunct Curator of Contemporary Art for the Cincinnati Art Museum and Exhibition Director at The Carnegie galleries in Covington, when he leaves the gallery this coming June, it will be with a different approach to exhibiting and culling the work of V&V artists.

The current exhibition at V&V showcases the drawings of Kathy Brannigan and Rob Macke and smartly incorporates elements of installation. Up, Up, Up and Up features Brannigan’s and Macke’s works in subtle white frames against backgrounds that provide additional layers for understanding the artists’ works.

Brannigan’s Shel Silverstein-esque line drawings on white paper appear to spill out of their low-profile frames and are visually connected via the artist’s recognizable hand-style. Directly on the walls underneath her drawing of a Goodyear blimp, Brannigan also adds wire as a 3-D element, visibly echoing her drawn lines throughout Up, and the effect is particularly successful.

The curatorial concept of Up is related to Brannigan and Macke’s “interest in objects and spaces above [their] heads,” and, for Brannigan, that is manifested in her depiction of flying objects.

Birds, blimps, space shuttles and jets are reimagined in the artist’s unrestrained line, which she uses to build up the composition in a way that is reminiscent of early synthetic Cubist works. For example, Brannigan’s “The Space Shuttle That Limped to Orbit in Lima Peru” features the artist’s free-form use of shapes to depict the cloud of smoke that happens during blast off, and — while her attention to details are meticulous — the contrast between the vertical/crosshatched lines of the shuttle and the cubist smoke circles are so visually appealing that one can hardly look away for want of discovering where Brannigan actually picked up her instrument off the panel.

Macke’s colorful works on the opposite side of the gallery contrast with Brannigan’s (mostly) black and white works, but he has an equal fascination with flying things; in Macke’s case, his imagined hybrid hawk or eagle creatures. Each winged-character is combined with real animals and/or mythological beings, and 18 of the paintings on canvas paper are scattered along the wall.

The names and bodies make the discovery of each cross-species entertaining, but Macke is most successful in his use of color, and the hawks (what appear to be the bad guys of the bunch) look like nightmares come to life. Hawks in Macke’s world are identifiable by their black wings, compared to the eagles’ white ones, and they all come to life atop Contemporary Arts Center preparator/artist Michael Stillion’s installation of Macke’s drawing.

While the eagles and hawks clearly have parenthetical backstories, a mere look at Macke’s “Dragawk” — an emerald green, pug-nosed creature with a golden beard and fire flares coming out of his nostrils — is enough to know this is one bad dude. In “Dragawk,” Macke abstracts the omnipresent wings to the point that they look to be a dark shadow hovering just behind this weighty creature, and the effect is disconcerting but powerful.

Like Distel, current V&V Exhibitions Coordinator Krista Gregory has a similar background in running galleries. Gregory was co-founder and director of Aisle Gallery for five years and she worked with Macke and Brannigan on Up’s exhibition installation. According to Gregory, V&V has added new staff and energy in the past few years to result in “a major shift from a social services organization with an arts component to an arts organization that happens to work with artists with disabilities.” If Up is any indication, we’ve only more good exhibitions to look forward to from V&V artists.

VISIONARIES AND VOICES’ exhibition Up, Up, Up and Up closes Friday. The next gallery show opens April 25. More info: visionariesandvoices.com.

I sing for U By Anthony Lewis

Price: $150
Original
I sing for U
By Anthony Lewis

I sing for U- She is a replica of my Middle daughter with her attitude to embrace music. This is 15 years enjoying what she does. $150.00 Original

I am originally from Camden, NJ. born and raised.. I am currently married to a beautiful women of 8years. We also have 3 girls. I am now living in Delaware. I suffer with depression and I needed a way to help cope and art is the best way for me to express myself and relax… I am a self taught artist and only have been painting with Oil and Acrylic for 2 months. I love it.. I also love charcoal and pastels… I am trying to sell my artwork and give a message at the same time… I hope you enjoy my art and let me know what you honestly think…. Peace…

Contact Artist www.alewisproject.fineartamerica.com

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    SOLD – Satchmo by Jin Kam

    SOLD
    Satchmo by Jin Kam
    Lithograph on fade-resistant paper;
    Limited signed and numbered edition 55/300
    Size 34″ x 45″ 

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    SOLD – Don Quixote by Late Jazz Artist Miles Davis


    Price: SOLD
    Don Quixote by late jazz artist Miles Davis
    7 color serigraph;
    signed and numbered limited edition 202/450
    Size 19″ x 25″
    unframed
    Certificate of Authenticity included.

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    LSD’s 70th Anniversary: 10 Rock Lyrics From The 1960s That Pay Homage To Acid

    Seventy years ago, an unsuspecting Albert Hoffman discovered a chemical substance that would alter the face of rock music and drug culture forever. While experimenting with the medicinal properties in lysergic acid compounds in the late 1930s and early ’40s, Hoffman ingested what would soon become known as LSD, a drug that came to define the latter part of the 1960s music scene.

    Hoffman wrote the following about his first experience taking acid: “Last Friday, April 16, 1943, I was forced to interrupt my work in the laboratory in the middle of the afternoon and proceed home, being affected by a remarkable restlessness, combined with a slight dizziness. At home I lay down and sank into a not unpleasant, intoxicated-like condition characterized by an extremely stimulated imagination. In a dreamlike state, with eyes closed (I found the daylight to be unpleasantly glaring), I perceived an uninterrupted stream of fantastic pictures, extraordinary shapes with intense, kaleidoscopic play of colors. After some two hours this condition faded away.”

    With LSD references sprinkled throughout much of the late ’60s’ music, psychedelic rock became synonymous with the hippie movement, which saw its apex with 1967’s Summer of Love. Throughout these years, many songs contained both covert and outright allusions to artists’ experimentation with this trippy substance, especially thanks to advocates like Timothy Leary and and Ken Kesey, who helped to introduce acid to certain bands like The Beatles and Grateful Dead.

    LSD has lost some of its prominence in the 21st century (today’s trendy music drug is MDMA, or “molly”), but the mind-bending references scattered throughout psychedelic rock still resonate with those who recall the drug’s zenith. Here are 10 acid-infused lyrics.

    Read More >>>>>>>

    The Top Secret Photography Techniques- Mind-Blowing Images (Video)

    Believe it or not, you don’t have to own super expensive equipment or be some kind of camera wiz to take high quality camera shots like these…but all those hotdog pro photographers out there will NEVER reveal their secrets to you. The Top Secret Photography Techniques To Create Mind-Blowing Artistic Images! so I’m about to do it for you.
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    Because of the practical shortcut secrets you’re about to find out, you’ll quickly be able to skip the “amateur photographer” stage that usually takes years to get past… and you’ll be a much better photographer from the very next time you take a shot.The Top Secret Photography Techniques To Create Mind-Blowing Artistic Images!

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    If you want to be able to take the really cool photos – those crazy special effects images others just can’t figure out – what I’m about to share with you will blow your mind…
    in fact, you’ll probably be a little annoyed that nobody told you this stuff before.
    You see, there are a handful of simple, easy techniques that can totally transform how you use and view your camera – and they’re so quick to grasp, they’ll make a difference for you the very next time you snap a picture.

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    Classic Jackie Robinson Footage

    Go to argentaimages.com to find more classic videos like this one. No one did more for baseball then Jackie Robinson. His number is retired in every stadium in major league baseball.

    Jackie Robinson Story HD (Video)

    The life story of Jackie Robinson and his history-making signing with the Brooklyn Dodgers under the guidance of team executive Branch Rickey.

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    Jackie Robinson movie ‘42’ is a boon to Negro Leagues museum

    By SAM MELLINGER

    The Kansas City Star

    The Negro Leagues Baseball Museum has done so many things. Seen so much. They have been hosts to presidents. They have welcomed Hall of Famers. They’ve received checks from baseball stars (though not enough of them), they’ve thrown black-tie galas, and they’ve sung along with The Temptations.

    They’ve done so much at the museum. But here’s a new one: They’ve never hosted a major motion picture. Never had to turn people away. Never had to say “no” to money. This is what they call a good problem.

    “Right now we’re riding a pretty good high,” museum president Bob Kendrick says. “I even had to turn down corporate sponsors. You know how much that hurt me?”

    Financially, this is one of the most important weeks in the museum’s 23-year history, right up there with last summer’s All-Star Game, two presidents’ visits, the reunion in 2000 and anything Buck O’Neil ever did.

    Harrison Ford is here, along with his co-star Chadwick Boseman, for a red carpet event for the new “42” movie about baseball star and civil-rights pioneer Jackie Robinson. There is an advance screening of the movie tonight and then a panel discussion led by former Star sportswriter Joe Posnanski.

    Tickets sold out almost immediately, more than $10,000 generated within three hours, which put Kendrick in the unprecedented position of turning down corporate money.

    Robinson’s story has been told many, many times but never in a modern feature film. For such an important part of our nation’s history, it’s a long time coming. No place in the world has done more to tell the story of baseball’s segregation and then integration than the Negro Leagues museum. It’s only right that the people who made “42” come here before showing the rest of the world.

    One can hope that more people will be exposed to that now. One can hope that this can help a Kansas City jewel. The museum is overdue for a break. This story going mainstream can be that break.

    It’s easy to think sometimes that if not for Robinson, someone else would have broken baseball’s color barrier. That’s true, but obscures so much. Robinson was chosen for his demeanor (“the guts not to fight back,” as the scene from the trailer puts it) as much as his ability (he won Rookie of the Year in 1947, then MVP in his third season).

    If not for the partnership of the level-headed Robinson with forward-thinking Dodgers general manager Branch Rickey, there is no telling how long major-league baseball would have abided by the unwritten code of excluding players with dark skin. A year later? Three years? Six? Ten?

    Robinson integrated baseball before President Harry Truman integrated the military. Robinson was in his seventh season when the U.S. Supreme Court ruled in Brown vs. Topeka Board of Education and a year from retirement when Rosa Parks sat in the front of that bus. By then, Robinson had helped create something like equality in baseball — the percentage of blacks in the game was higher than in the general population.

    If not for Robinson, maybe we wouldn’t know Hank Aaron as a major-leaguer. Or Ernie Banks. Or Willie Mays. If the conditions were right for Robinson or someone else to integrate the major leagues sooner, maybe we could have known Oscar Charleston as a major-leaguer. Or Cool Papa Bell. Or Josh Gibson. Maybe we could have known the entire careers of Satchel Paige and Monte Irvin.

    Those are all Hall of Famers, each of them with careers substantially impacted — or that could have been impacted — by the integration Robinson brought.

    So it’s only right that the Negro Leagues museum can be part of this, only right that Ford is bringing his celebrity and Boseman is donating a uniform he wore during filming. Nobody has done more to emphasize the importance and meaning of what Robinson did than Kendrick and the wonderful staff at the museum.

    Now that a movie will tell part of that story to a much bigger audience, the museum is happy for the residual attention.

    This place has been through so much. But never this, one of the best weeks in the museum’s history.

    To reach Sam Mellinger, call 816-234-4365, send email to smellinger@kcstar.com or follow him at Twitter.com/mellinger. For previous columns, go to KansasCity.com.

    Read more here: http://www.kansascity.com/2013/04/10/4175014/42-the-new-movie-about-jackie.html#storylink=cpy

    Jackie Robinson’s Brooklyn: Tracing A Legend’s Life In The Former Home Of The Dodgers

    By BETH J. HARPAZ

    NEW YORK — With the movie “42” bringing the Jackie Robinson story to a new generation, fans young and old may be inspired to visit some of the places in Brooklyn connected to the African-American athlete who integrated Major League Baseball when he joined the Brooklyn Dodgers in 1947.

    In Coney Island, a statue portrays Robinson and Pee Wee Reese, the white Dodger who stood by him in the face of racist taunts. At the cemetery on the border of Brooklyn and Queens where Robinson is buried, admirers still leave baseballs and other mementos. And for fans who enjoy irony – or who remain bitter about the Dodgers’ departure to Los Angeles in 1957 – there’s a “No Ball Playing” sign at the housing complex where the Dodgers’ storied stadium, Ebbets Field, once stood.

    Joseph Dorinson, author of “Jackie Robinson: Race, Sports and the American Dream,” says it’s no accident that the color barrier was broken by a Brooklyn team. “Jackie made it in Brooklyn, and no other place, because of the multicultural and ethnic diversity here,” he said. That diversity still exists here today.

    Here’s a guide to exploring Jackie Robinson’s Brooklyn.

    STATUE

    The life-size statue in Coney Island shows Robinson and Reese arm in arm. It’s inscribed with the story of how Reese, captain of the Dodgers, “stood by Jackie Robinson against prejudiced fans and fellow players … silencing the taunts of the crowd” during a game in Cincinnati. The statue is located outside MCU Park, where the minor league Cyclones team plays at Surf Avenue and West 17th Street, near the last stop on the D, F, N or Q train to Coney Island.

    HOME AND CHURCH

    Robinson lived in several places in Brooklyn before moving to Queens and later Connecticut with his wife and children. On a tidy block in East Flatbush, a two-story brick house at 5224 Tilden Ave. with a rusting fence and peeling paint bears a plaque that states: “The first African-American major league baseball player lived here from 1947 to 1949.” Local officials have started an effort to landmark the house.

    Robinson and his wife Rachel also lived for a time at 526 MacDonough St. in Bedford-Stuyvesant. Although much of the movie was filmed in the South, some scenes were shot on MacDonough because the filmmakers wanted to show the building’s distinctive front stoop, a common feature of Brooklyn homes. The production company used the Nazarene Congregational Church at 506 MacDonough St. for storage and wardrobe while filming, according to Nazarene’s pastor, the Rev. Conrad Tillard.

    When Robinson first arrived in New York, he lived for a time with Nazarene’s then-assistant pastor, the Rev. Lacy Covington and his wife Florence. “Church and faith were central to Jackie Robinson’s success,” said Tony Carnes, who publishes an online magazine called A Journey Through NYC Religions.

    Nazarene was considered a “mink coat church” at the time, Tillard said, with an educated, affluent African-American congregation. Robinson later came back to the church to “make an impassioned speech about the dangers of drugs,” Tillard said. Robinson’s son, Jack, who’d served in the Vietnam War, was a heroin addict.

    GRAVE SITE

    Robinson died in 1972, just a year after his son died in a car accident. They are buried, along with the Covingtons and Robinson’s mother-in-law, in Cypress Hills Cemetery. “A life is not important except in the impact it has on other lives,” reads the inscription on Robinson’s tombstone. Mementos left by fans at the grave include a bat and baseballs, with one ball bearing a handwritten note thanking Robinson “for being an inspiration, strong and courageous.” On a recent day, Ronnie Carvey, Taneisha Beckford and their 3-year-old son were among those stopping at the grave to pay respects, with Carvey explaining to his child that Robinson was a “famous baseball player.”

    The cemetery entrance is 833 Jamaica Ave., Brooklyn, near the Cypress Hills stop on the J subway line, also reachable via the Jackie Robinson Parkway. Robinson’s plot is in section 6 on the Queens side of the graveyard, on Jackie Robinson Way near Cypress Road, across from a large stone mausoleum near a low black fence, tall evergreen tree and hedge row. A map can be found at . http://nycin60.files.wordpress.com/2010/11/chcmap.png

    EBBETS FIELD AND WASHINGTON PARK

    Robinson retired after the 1956 season. Dodgers owner Walter O’Malley, still a much-hated name in parts of New York City, moved the team to Los Angeles after the 1957 season. The park was replaced by an apartment complex at 1720 Bedford Ave., in Crown Heights, where a stone in a wall is inscribed with the words: “This is the former site of Ebbets Field.”

    Ron Schweiger, Brooklyn’s borough historian, grew up going to Dodger games at Ebbets Field and met Robinson several times. As a Brooklyn public school teacher, he used Robinson’s story to teach his students about civil rights, even hosting Robinson’s daughter Sharon as a speaker at the school. Recalling a recent visit to the Ebbets Field site, Schweiger said that “if you go up the stairs and into the courtyard, you’d be standing in right field. When you walk closer to the entrance to the building and look at the sign over to the right of the doorway, there’s a sign: `No radio playing. No bike riding. No ball playing.'”

    Long before Ebbets Field existed, beginning in 1883, Brooklyn’s baseball team played in Washington Park, which is better known as a Revolutionary War site for the Battle of Brooklyn. George Washington’s troops were defeated here in 1776 by the British, who used as their base an old Dutch farmhouse now known as the Old Stone House. After the ballpark was built, the Old Stone House served as a clubhouse for the Brooklyn Dodgers. Washington Park is located at Fifth Avenue and Third Street in Park Slope (nearest subway stop, F to Fourth Avenue). Exhibits in the Old Stone House describe its connection to baseball and the Revolutionary War.

    Kim Maier, executive director of the Old Stone House, offers a couple of other fun Dodger facts: The team was called the Brooklyn Trolley Dodgers because trolleys running along Third Avenue made it tricky to get into the park. And the man who built Ebbets Field started out as a ticket-taker at Washington Park, then worked his way up to control the team. His name was Charlie Ebbets.

    Jackie Robinson and the Press

    Professor of Journalism, University of Indiana-Indianapolis

    When Jackie Robinson took the field for the first time in a Brooklyn Dodgers uniform, he shattered baseball’s color barrier. But more than that, he confronted racial discrimination in America, giving millions of blacks hope for equality not only in sports but in jobs, housing and education.

    Robinson is the focus of the movie 42: The True Story of an American Legend, starring Chadwick Boseman as Robinson and Harrison Ford as Branch Rickey, the president of the Brooklyn Dodgers who signed the ballplayer.

    There is no greater story in sports than Robinson breaking baseball’s color line on April 15, 1947. Yet there was little sense of that history that day in the sports pages of daily newspapers, even in New York City.

    The Brooklyn Eagle left Robinson out of its game story. Eagle columnist Tommy Holmes wrote that it was the first time that “an acknowledged Negro” had taken the field in the major leagues. Dick Young of the Daily News didn’t mention Robinson until the last paragraph of his story. “Red” Smith, one of the greatest names in sportswriting, mentioned Robinson for the first time in the 12th paragraph of his column, referring to the ballplayer as “that dark and anxious young man.”

    Arthur Daley of the New York Times, who later became the first sportswriter to win a Pulitzer Prize, did not write about how Robinson did in the game. Instead, Daley tried to assure his readers that Robinson was the “right type” of black man — deferential and quiet, one who never questioned his place. “The muscular Negro minds his own business and shrewdly makes no effort to push himself,” Daley said. “He speaks intelligently when spoken to and already has made a strong impression.”

    There was little sense of the significance of the game in daily newspapers throughout the country, which paid little attention to issues of racial discrimination — whether in baseball or elsewhere in society.

    Baseball could not have maintained the color line as long as it did without the aid and comfort of the country’s white mainstream sportswriters, who participated in what black sportswriter Joe Bostic of the People’s Voice and other black sportswriters called a “conspiracy of silence.”

    The story of the campaign to integrate baseball remained unknown to most whites in the United States. To blacks, however, it was one of the most important stories involving racial equality in the 1930s and 1940s. Black sportswriters, including Bostic, Sam Lacy, and Wendell Smith framed the campaign to end segregation in baseball in terms of democracy and equal opportunity. To black newspapers, if there could be racial equality in baseball, there could be racial equality elsewhere in society.

    Black sportswriters took their campaign to baseball commissioner Kenesaw Mountain Landis. They made their case to baseball executives at their annual meeting. They met individually with a number of team owners who promised tryouts and then canceled the tryouts. And yet the story of the campaign to desegregate baseball remained unknown to most of the United States.

    White baseball fans did not know that blacks were prohibited from the game. They did not know that there were blacks good enough to play in the major leagues. They did not know that many major league managers and players supported integration. They also did not know that sportswriters had their own color line — the baseball writers’ association prohibited blacks.

    When sportswriters said anything about the color line, which was not often, they justified the absence of blacks in baseball with blatant dishonesty. J.G. Taylor Spink, the influential editor of the Sporting News, said that integration would cause race riots in the bleachers. He said that there were no blacks good enough for the big leagues. He said that neither black nor white players supported desegregation.

    The failure of sportswriters to cover the campaign to integrate baseball reflects a larger failure of the press to cover the campaign to integrate American society in the 1940s and 1950s. This failure ill prepared the United States for the Civil Rights Movement that would shake the foundation of the country in the 1950s and 1960s. The Kerner Commission criticized the news media in its 1968 report. “It is the responsibility of the news media to tell the story of race relations in America,” the commission said, and the news media had failed in their responsibility.

    Most sportswriters were conservative in their politics yet evangelical in their belief that baseball represented the American dream because everyone was equal on the playing field. As a result, according to one historian, they “wrote fantasies about the great American pastime … and were generally apathetic about baseball’s color line.”

    A relative few sportswriters raised the issue in their columns and articles. “There’s a couple of million dollars worth of baseball talent on the loose ready for the big leagues,” Shirley Povich wrote in the Washington Post in 1939, “yet unsigned by any major leagues. Only one thing is keeping them out of the big leagues — the color of their skin.”

    But most sportswriters never mentioned the color line. Some said nothing because they did not run the risk of offending their editors, readers, or advertisers. Others believed that segregation was in the best interests of both baseball and the country.

    I once asked Povich why so few white other sportswriters called for the end of the color line. “I’m afraid the sportswriters were like the club owners,” he said, “they thought separate was better.”

    Chris Lamb is the author of Conspiracy of Silence: Sportswriters and the Long Campaign to Desegregate Baseball.