The New York Times, and their writer Brent Staples are to be commended for shedding light on racism in health care. Discrimination in health care practice, against both practitioners and recipients, has been an undercurrent of overall racism in U.S. history. The new “Showtime” tv series “The Knick” features a controversially innovative New York City hospital at the turn of the 20th century, where an accomplished African American physician encounters prejudice and the hospital’s acerbic chief of surgery Dr. Thackery, portrayed by Clive Owen. Andre Holland plays the gifted Black surgeon, Dr. Algernon Edwards, who is assigned menial tasks, discreetly treats Black patients in the hospital’s basement, and lives in a flophouse in a rundown section of the city. Edwards’ fictional plight recalls the real life challenges faced by medical pioneer Dr. Charles Drew (1904-1950), whose development of blood plasma banks saved the lives of thousands, including Allied soldiers during World War Two. Drew’s daughter, former D.C. City Councilwoman Charlene Drew Jarvis, is interviewed in the film “The Rosenwald Schools”. Dr. Drew finished Howard University because of a Rosenwald Fellowship that allowed him to complete his studies. In the 1930′s Drew assumed a clandestine residency at Harlem’s Columbia Presbyterian Hospital, under the tutelage of a doctor far more supportive than “The Knick”‘s Thackery.
First Page News: Rosenwald Schools Interviewee Clarence Page Visits Politics & Prose to Reflect on 30 Years of Chicago Tribune ColumnsOctober 10th, 2014
Award winning veteran journalist and news panelist Clarence Page is an interviewee in The Rosenwald Schools. At 1:00 p.m. on Sunday, October 26,, 2014, Page will read from a thirty year compilation of his columns, at Politics & Prose Bookstore at 5015 Connecticut Avenue, N.W. in Washington, D.C.
Page has long been associated with Chicago, where Julius Rosenwald lived, and helped build the Wabash Avenue YMCA. One of the nation’s most recognized columnists and broadcast commentators, Page has earned a Pulitzer Prize and a National Association of Black Journalists (NABJ) Lifetime Achievement Award. He has been a regular panelist on The McLaughlin Group. His new book Culture Worrier: Selected Columns 1984-2014: Reflections on Race, Politics and Social Change marks the 30th anniversary of Page’s print debut in The Chicago Tribune. The collection represents the impressive range and depth of his commentary on social issues, foreign policy, and politics.
The Christian Science Monitor reports that a large multimedia exhibit at the new National Center for Civil and Human Rights in Atlanta were designed by the talented director and playwright George C. Wolfe. The article talks about Wolfe’s childhood, growing up in segregated Frankfort, Kentucky. Attending the Rosenwald School in Frankfort was a highlight of Wolfe’s childhood. He will speak about the school and his mother, a teacher at “Rosenwald,” in our upcoming documentary about the Rosenwald Schools.
You can read more about the museum and Wolfe at the Christian Science Monitor.
Top Barack Obama advisor Valerie Jarrett made an appearance in the September 28th episode the CBS drama “The Good Wife.” According to The Washington Post, Jarrett played herself and urged the main character, Alica Florrick to run for Illinois state’s attorney. Jarrett is the great-granddaughter of Robert Robinson Taylor, the seminal Tuskegee Institute architect, and the granddaughter of Robert Rochon Taylor, who was the first manager of Julius Rosenwald’s Michigan Boulevard Garden Apartments. We have interviewed Jarrett’s mother, who grew up in the MBGA, for our upcoming documentary about Julius Rosenwald.
Read more about Jarrett’s CBS cameo at The Washington Post.
Hank Stuever, writing for The Washington Post, gave a positive review to Martin Scorsese and David Tedeschi’s new documentary about the New York Review of Books. Stuever writes that the film, called The 50 Year Argument, “does a thoughtful and appealing job of opening up the rarefied literary realm of the NYRB to a viewer who may have never heard of it.” Stuever mentions Rosenwald Fund fellow James Baldwin as one of the authors frequently found in the pages of the NYRB.
You can read more about the new documentary at The Washington Post.
The outgoing attorney general Eric Holder posed for a picture in February with Edward H. Levi, a previous attorney general who served under President Ford. Levi was the grandson of Rabbi Emil Hirsch, a strong advocate for Civil Rights for African Americans in turn of the century Chicago. Holder has been called a “champion of Civil Rights” as well by The New York Times. You can read more about Holder and see the photo of him with Levi’s portrait in the New York Times article.
Lawrence Downes, a writer for The New York Times, recently took a trip to locations around the city where Woody Guthrie spent half his life: New York. Downes was guided by two grandchildren of the great folk singer, Anna Canoni and her brother Cole Rotante, and wrote an entertaining article about the experience.
On a related note, “My Name is New York” is the name of a recently published guide book (in paperback and audio format) to the city written by Guthrie’s daughter, Nora Guthrie. The book follows the traces of Guthrie’s movements and residences around the city – click here to get your copy today.
Guthrie was living in a community of like-minded artists and musicians in New York around 1943 when he first applied to the Rosenwald Fund for assistance writing a book. During his Rosenwald grant period, Guthrie worked on several projects, the most prominent of which, entitled House of Earth, was finally published last year.
You can read more about Guthrie landmarks in the Big Apple in the online version of the New York Times article, which also includes a video of Canoni and Rotante exploring some of the locations in New York inhabited by their famous grandfather.
The Washington Post reports that the William H. and Camille O. Cosby collection, which contains masterpieces by many great African and African American artists, will have a rare exhibition at the Smithsonian Museum of African Art starting in November of this year. In keeping with Camille Cosby’s statement on the importance of “[showing] people that African American artists have been working for a long time,” the collection has many works from the 18th, 19th and 20th centuries by artists of color. 20th century pieces in the collection include works by Rosenwald Fund-supported artists like Elizabeth Catlett, Jacob Lawrence, Eldzier Cortor and Augusta Savage.
Don’t miss this chance to see the Cosby collection in person. Read more about the show at The Washington Post.
First we filmed an interview with Steven Nasatir, the longtime president of the Jewish Federation of Metropolitan Chicago, an organization whose first president was Julius Rosenwald. Nasatir recounted how Rosenwald became president of the new organization in 1923, after he engineered the merger of the Associated Jewish Charities, primarily composed of German Jews, and the Orthodox Federated Charities, primarily composed of Eastern European Jews. Rosenwald took at as his mission to unite these two charitable organizations into one large federation, a combination that resulted in greater efficiency and potency for both.
Steven Nasatir and Aviva Kempner
Photo credit: The Ciesla Foundation, September, 2014
Nasatir helped reveal the roots of J.R.’s philanthropy, which came out of his Jewish faith, and the roots of his famous motto:
J.R.’s motto of “Give while you live” was in some ways an English way of talking about tzedakah, which is righteous action. In the Jewish tradition, we don’t talk about “charity,” we talk about “righteous action.” J.R.’s whole life was being a righteous man and [working] on repairing the world, this notion of tikkun olam.
In the Jewish faith, tzedakah is a form of obligatory charity. Rosenwald felt that it was his responsibility to promote justice through philanthropy, not only to give to the less fortunate, but to give in such a way that they would be able to help themselves. Rosenwald’s challenge grants to African American communities in the South are the greatest example of tikkun olam, or repairing the world. By giving a portion of the funds needed to build a rural schoolhouse, he created a scenario where reluctant counties and their underserved African American residents both contributed to the improvement of educational opportunities.
Next we talked to David R. Mosena, the president of the Museum of Science and Industry. MSI is a great museum that received virtually all of its initial funding from Julius Rosenwald before it opened in 1933. Unfortunately, Rosenwald died in 1932, and never saw the completed museum. Since then, however, hundreds of thousands of visitors to the museum have been inspired by its exhibits. Rosenwald’s vision of the museum as a hands-on showcase for America’s industrial technology has survived to this day. Mosena explained the way the concept for the Museum of Science and Industry was developed by J.R. and his son, William.
[The museum] came about when Julius Rosenwald took his son to Munich around 1911. The two of them spent quite a bit of time at the Deutsches Museum, which is in Munich. It was then and is still one of the grandest industrial museums in the world, and his son fell in love with that museum. They had never seen a museum that was interactive before, where people got to push levers and turn knobs and do things.
So Julius Rosenwald came back to Chicago and decided that he would take on the task of trying to [create] a museum like the one he and his son discovered in Munich, a museum that was very hands-on, that showcased what he called America’s inventive genius and demonstrated America’s growing prowess in science and technology.
David R. Mosena, president and CEO of the Museum of Science and Industry
Photo credit: The Ciesla Foundation, September, 2014
After shooting some retakes and a short interview with Peter Ascoli (the grandson and biographer of Julius Rosenwald and one of our primary interviewees) we also interviewed Bill Buckner, a man who attended an Arkansas Rosenwald School. As a child, Mr. Buckner voiced the question that was on the minds of many children who attended a school supported by Rosenwald and saw the portrait of him that often graced one of the walls in these schools.
Once while walking down the hall I saw three pictures above a door in the hall. And I asked the principal about who they were. And there was Booker T. Washington. W.E.B. Du Bois, and Julius Rosenwald. And I wanted to know, why was a white man’s picture in our school? And he said he was our benefactor and that he built the school and that when it burned down he rebuilt it.
Seeing Rosenwald’s picture prompted Mr. Buckner to learn more about the school’s benefactor. He was especially inspired by the way the Rosenwald Fund responded after the school burned to the ground – probably the result of arson, an all too common form of backlash against African American schoolhouses during the Jim Crow era. Undeterred, the Rosenwald Fund and community members rebuilt their school. It was actually this “second” Rosenwald School that Mr. Buckner attended as a child.
Bill Buckner with Peter Ascoli
Photo credit: The Ciesla Foundation, September, 2014
Thanks as always to our great interviewees.
Jacob Lawrence’s Migration Series, a monumental work of 60 paintings that depicts scenes from the early 20th century migration of African Americans away from the Jim Crow South, was made possible through support from the Rosenwald Fund in the early 1940s. The stoic figures and powerful compositions in Jacob Lawrence’s panels have inspired a New York-born artist to capture what she terms “The New Migration” of African Americans, who are compelled by gentrification and urban renewal to return to their roots in the South. The installation is part of 5×5, an annual project supported by the D.C. Commission on the Arts and Humanities.
During a 10-day trip from Washington D.C. to Florida, Abigail Deville collected ephemera, debris, stories and photographs, which are now on display in a storefront gallery in Southeast Washington D.C. Deville followed historical rail routes used by the migrants depicted in Lawrence’s work to collect the materials, which she has transformed into a collage installed at a gallery in a gentrifying area of the nation’s capital.