Archive

Archive for the ‘African-American’ Category

Hot Movie Takes – “Southside with You”

April 29, 2017 Leave a comment

Hot Movie Takes – “Southside with You”
©By Leo Adam Biga, Author of “Alexander Payne: His Journey in Film”

 

 

Southside with You Poster
Trailer

Finally saw “Southside with You,” the 2016 dramatic film that lovingly, tenderly, never cloyingly portrays the first date that then-Michelle Robinson had with Barack Obama in 1989. And, oh, what a date it was in forging a bond that would not be broken. I am happy to report that it is a first-rate romantic movie worthy of the future First Lady and the first African-American U.S. president because it depicts them just as they were then – two young, idealistic lawyers still finding themselves and what they wanted to do with their lives. Tika Sumpter and Parker Sawyers are sensational as Michelle and Barack, respectively. They capture the fullness of their humanity, intelligence, wit and grace. They nail the dynamic the couple enjoyed as highly educated, aspirational young professionals looking to make a difference in the world.

They nail, too, a desire to find a soulmate with whom they can share their life. But neither will be easily satisfied. Each has defenses and hurts that must be overcome if they’re to let their guard down enough to let someone else in.

Writer-director Richard Tanne very smartly confines the entire story to everything surrounding that first date. The preparation. The anticipation. The awkward feeling out process. The long walks and talks. Viewing an Afroc-centric exhibition at a museum. Taking in a community meeting. Seeing Spike Lee’s “Do the Right Thing.” The after glow of their day into night first date.

We witness an intimate meeting of minds and hearts. The simple but revealing activities of that first time out on the town encapsulate what formed these two serious people, what drove them and why they were attracted to each other. The film reminds us that when really good writing is provided to well-cast actors under the direction of someone who knows how to stage things, then the mere act of two people talking to each other can carry an entire film. It works so well because the characters are firmly established at the very start and everything that flows from there reveals ever more layers of their personality and chemistry. I wondered during the film if I would care as much about these characters if they weren’t Michelle and Barack and I decided, yes, that these two people are engaging enough that I would still be swept up in their orbit. I would still want them to connect and for their budding relationship to click,

 

http://www.youtube.com/watch?v=yhd-yvMjImU

 

When the events of the film take place, the two of them work at the same law firm. She’s an associate and he’s an intern. She acts as his advisor there as he learns the ropes. It’s Barack who initiates their seeing each other outside of work on the pretext of taking her to a meeting he feels certain she’ll find interesting. She’s adamant about their outing not being a date and he’s just as insistent that it is a date as far as he’s concerned. We learn he’s been pestering her to go out with him for some time. On their various stops that fateful day in their lives, they learn vital things about each other that confirm they share many of the same passions even if they don’t always see eye to eye on everything.

Michelle really makes Barack work to earn entry into her heart and win her over. The clincher, we think, is when he’s asked to speak at the community meeting and he charms the crowd with his genuine, charismatic message of hope. She sees the common touch he has with people. But it’s really when he buys her her favorite ice cream that she finally melts.

I was amazed to discover this was Tanne’s feature film debut. He is a talent to be watched. Sumpter co-produced the film with him and music artist John Legend executive produced the project. The creators made the film on location in a variety of spots that Michelle and Barack actually traversed that first date – from downtown to the South Side to the West Side. It all plays out very naturally and organically, not forced or contrived.

I didn’t know either of the lead actors before this film but they both have impressive credits and I will definitely be looking for them from here on out because each brings an appealing presence to the screen, Together, they have real chemistry.

I like that the story ends with them basking in their individual homes after the date – each filled with his/her high from the heady experience. Their bright futures are before them and they already know they want to be together for wherever their journeys lead. They couldn’t possibly have known what history they would be making barely more than a decade and a half later. We’re left with two young people on the move, newly in love, and eager to make their mark. They certainly would go on to do that. Hell, the Obamas are still only in their early 50s and may have decades ahead of them to make even more impact.

For some reason the film didn’t do much at the box office but I hope it is finding its audience online. It did deservedly receive many away nominations. I found the film on Netflix and I’m sure it’s available on other viewing platforms as well. Check it out, as I’m sure you’ll find it well worth your time.

 

 

 

Hot Movie Takes Monday – ‘Mississippi Masala’


 

 

Hot Movie Takes Monday – “Mississippi Masala”

©By Leo Adam Biga, Author of “Alexander Payne: His Journey in Film”

 

Over the weekend I revisited one of my favorite films from the early 1990s – Mira Nair’s “Mississippi Masala.” I remembered it as one of the richest cross cultural dramas of that or any era and upon re-watching it on YouTube my impressions from then have been confirmed.

The story concerns an Indian family exiled from Uganda during Idi Amin’s reign of terror. They were forced to leave everything they owned and loved in terms of home, The patriarch of the family was born and raised in Uganda and lived there his entire life, building a life and career that made him feel at one with a nation his people had been brought to by the British to build railways. Though his ancestral roots are not of that continent, he identifies as African first, Indian second. The family ends up in Mississippi, owning and operating a motel and a liquor store. The patriarch, Jay, and his wife are the parents of an only child, Meena, who was a little girl when her left Uganda as refugees. When we meet her again she is a lovely, single 24 year old woman and still devoted daughter but strains under her parents’ overprotectiveness and their insisting she adhere to strict traditions concerning matrimonial matches and such. Those traditions aren’t such a good fit in America.

Also weighing heavily on Meena is the burden her father carries from being torn from his homeland. He can’t let that severing go. For years he’s petitioned the Ugandan government for a hearing to plead his case for his property and assets to be restored. He is a haunted figure. Part of what haunts him is the way he rebuked his black Ugandan friend from childhood, Okelo, when Amin’s military police rounded up foreigners for arrest, torture, deportation. Okelo is a devoted family friend who is like a brother to Jay and a grandfather to Meena. When Jay is arrested for making anti-Amiin remarks in a broadcast TV interview, Okelo bribes officials to free him. He tries to convince Jay that there is no future for him in Uganda anymore. Okelo tells him, “Africa is for black Africans.” He says it not out of malice but love. Jay is deeply hurt. He can’t accept this new reality but he realizes he and his family have no choice but to flee if they are to remain alive. Jay leaves without saying goodbye to Okelo. Meena sees and feels her father’s bitter anger and her beloved Okelo’s broken heart.

 

 

Grown-up Meena, played by Sarita Choudhury, lives with her parents in a diverse Mississippi town where they are the minority. A meet-cute accident brings together Meena and a young African-American man, Demetrius, played by Denzel Washington. He’s a devoted son who owns his own carpet cleaning business. He’s immediately attracted to Meena but at first he pays attention to her to get back at his ex, who’s in town and intent on belittling him. But things progress to the point where he and Meena spark the start of a real relationship. She meets his family and is embraced by them. Then the prejudice her extended family and community feels for blacks gets in the way and things get messy. As it always is with race, there are misunderstandings, assumptions and fears that cause rifts. Meena’s father is reminded of his own close-mindedness – that Indians in Africa wouldn’t allow their children to marry blacks. Demetrius and his circle must confront their own racist thinking.

Everyone in this film has their own wounds and stones of racism to deal with. No one is immune. No one gets off the hook. We’re all complicit. We all have something to learn from each other. It’s what we do with race that matters.

The theme of being strangers in homelands runs rife through the film. Just as African-Americans in Mississippi were enslaved and disenfranchised and often cut off from their African heritage, Indian exiles like Meena’s family are strangers wherever they go and distant from their own ancestral homeland of India.

Meena finally asserts her independence and her father finally gets his hearing. His bittersweet return to Uganda fills him with regret and longing, ironically enough, for America, which he realizes has indeed become his new home. The simple, sublime ending finds Jay in a street market where residents of the new Uganda revel in music and dance that are a mix of African and Western influences. As he watches the joy of a people no longer living in oppression, a black infant held by a man touches his face and Jay ends up holding the boy close to him, feeling the warmth and tenderness of unconditional love and trust.

 

 

 

There’s a great montage sequence near the end where the diverse currents of India, the American Deep South and Africa converge in images that some hot harmonica blues cover. By the end, the movie seems to tell us that home is a matter of the heart and identity is a state of mind and none of it need keep us apart if we don’t let it.

I saw the film when it first came out and though it spoke to me I was still a decade away from being in my first interracial relationship. I was already very curious about the possibilities of such a relationship and I was also acutely attuned to racial stereotypes and prejudices because of where and how I grew up. Seeing the film again today, as a 15 year veteran of mixed race couplings and a 21 year veteran of writing about race, it has even more resonance than before. And having visited Uganda in 2015 I now have a whole new personal connection to the film because of having been to that place so integral to the story.

This was the second movie by Nair I saw. The first, “Salaam Bombay,” was a hit on the festival circuit and that’s where I saw it – an outdoor screening at the Telluride Film Festival. Years later I saw another of her features, “Monsoon Wedding.” I still need to catch up with two of her most acclaimed later films, “The Perez Family” and “The Namesake.”

Watch the “Mississippi Masala” trailer at:

http://www.youtube.com/watch?v=kSrPYziDGW8

North Omaha: Where for art thou?


North Omaha: Where for art thou?

©by Leo Adam Biga

 

Our fair city has a curious case of tunnel vision when it comes to North Omaha.

What constitutes North Omaha is different depending on who you talk to. Officially or technically speaking, it is one of four geographic quadrants. North O itself is made up of a diverse number of neighborhoods, many of which are not generally considered part of it. For example. most of us don’t include the Dundee business district and surrounding neighborhood around Underwood Avenue as North O when in fact it is. The same for Happy Hollow, Country Club, Benson, Cathedral, Gold Coast, Florence and many others well north of Dodge that have their own stand-alone names, designations, associations and identities. When North O is referenced by many individuals and organizations, what they’re really referring to is Northeast Omaha. For many, North O has come to mean one narrow set of characteristics and conditions when in reality it is much more diverse geographically, socio-economically, racially and every other way than any tunnel vision prism does justice to. Why does this happen so persistently to North O? Well, there are many agendas at work when defining or designating North O as one thing or another. When viewed in a racialized way, North O is suddenly a black-centric district. When viewed as prime development territory. North O’s either a distressed area or a great investment opportunit. When viewed in historical terms, North O’s variously a military outpost, a Mormon encampment, a bustling Street of Dreams or the site of riots and urban renewal disruption and the downward spiral that followed. When measured statistically and comparatively, North O often comes out as the epicenter of poverty, underemployment, educational disparity, STDs, gang violence and other disproportionately occuring ills when in fact in totality, taking into account all its neighborhoods, North O is doing well. When viewed in redevelopment terms, North O is s collection of revitalized commercial and residential areas and of pockets still in need of redos. How you see it doing and where you see it going, what you count as part it or not, the amount of monies that flow in or out and the types of projects, initatives and developments that happen and dont have to do with what people are predisposed to think about it and expect from it. When it comes to North O, your perception of it and engagement with it conforms to your own ideas, attitudes, beliefs, visions, plans, experiences. For some, it represents an avenue of opportunity and for others a plaee of stagnation. Some see it and treat it as a social services mission district, while others see it as a wellspring of commerce, entrepreneurship and possibility. People living there surely have very different takes on it as a community, even on what makes North O, North O. Certainly, people living outside the area have very different takes on it than the people residing there. If there is an essential North O identity it is one of diversity and aspiration, hard work, no frills and pride. North O never has been and never will be just one thing or another. You can reduce to it a tag or a headline and to a segment or a section if you want but that will never reflect the large, complex mosaic of cultures and influences, assets and resources that comprise it. North O ha for too long been stereotyped and compartmentalized, stigmatized and marginalized. It has too long been misunderstood. Instead of only seeing it in its parts, what if we began looking at it as a whole? Maybe if we started thinking in terms of how everything that happens in one neighborhood affects everything else, then perhaps future quality of life development can be more organic and inclusive.

 

St. Cecilia Cathedral - breath taking - 701 N. 40th St. - wonderful concerts held here including the annual Omaha Symphonic Chorus' Christmas in the Cathedral early to mid December.:

 

Image result for dundee omaha, ne
Image result for benson omaha
"A Beauty Spot, Miller Park, Omaha, Neb."

 

North Omaha contains some of the metro’s oldest, most compelling history. Long established neighborhoods, parks, boulevards, buildings and other public spaces have roots in diverse peoples and events that helped shape the city. Despite this rich heritage, mass media depictions tend to emphasize a narrow, negative view of North O as a problematic place of despair and neglect.

Problems exist, but North O has been a place of great aspirations and successes. One of its historic main drags, North 24th Street, has inspired many names. Jews called it the Miracle Mile. African-Americans dubbed it the Street of Dreams. More informally, it went by the Deuce or the Deuce Four. Other districts within North O, such as Florence, Benson and Dundee, each have their own vibrant histories. These neighborhoods, along with the North 24th and North 30th Street corridors, are undergoing major revivals.

North O’s history extends way back:

A  Great Plains army installation, Fort Omaha, was the site of an historic ruling about the nature of man was rendered in the Trial of Chief Standing Bear. The fort’s grounds are now the main campus for Omaha’s fastest growing higher education institution, Metropolitan Community College, and for the Great Plains Theatre Conference. An annual pow wow is held there.

 

 

The Trans-Mississippi and International Exposition brought the nation and world to this once frontier outpost turned fledgling city. The Trans-Miss site is where Kountze Park and many stately homes stand.

Pioneering Mormon families trekked to and encamped in what is now North O. They later disembarked there for far western travels to the Great Salt Lake. Area Mormon artifacts and historic sites abound.

Diversity may not be the first thing you think of when it comes to North O, but it is a blend of many different peoples and places. A wide range of immigrants and migrants have settled there over time. Jews, Italians, Germans, Irish, Africa-Americans, Africans, Asians, Hispanics.

 

 

Its strong faith community includes a wide variety of Christian churches, Some of the churches have rich histories dating back to the early 20th century. Many older worship places have undergone restoration. Several buildings in North O own national historic preservation status, including the Webster Telephone Exchange that later saw use as a community center and the home of Greater Omaha Community Action until James and Bertha Calloway used grant money to convert it into the Great Plains Black History Museum.

Among the historic spots to visit in North O are Prospect Hill Cemetery where many city founders are buried, and the Malcolm X Memorial Birthsite where slain social activist Malcolm X was born Malcolm Little.

African-Americans built a strong community through their toil as railroad porters and packinghouse workers and through their education in all black schools. North O encompassed a leading vocational school, Technical High. The district continues to support quality public and private elementary schools and public secondary schools. It is home to one of the Midwest’s top post-secondary institutions in Creighton University and to a thriving community college in Metro.

 

 

 

North O is also home to some of the city’s oldest, most distinguished neighborhoods, including Dundee, Benson, Bemis, Gold Coast, Cathedral, Walnut Hill, Kountze Place, Minne Lusa and Florence. Blacks were denied the opportunity to live in many of those neighborhoods until discriminatory housing practices ended.

Bounded by the Missouri River on the east. 72nd Street on the west, Cuming-Dodge Streets on the south and Interstate 680 on the north, North O is a varied landscape of attractive flatlands, hills, woods, parks and tree-lined boulevards. There are promontories and overlooks with stunning views of the bluffs across the river and of downtown.

The area’s fertile soil has produced notables in film (Monty Ross), television (Gabrielle Union), theater (John Beasley), music (Buddy Miles), literature (Wallace Thurman, Tillie Olsen), media (Cathy Hughes), sports (Bob Gibson), finance (Warren Buffett), politics (George Wells Parker) and social activism (Malcolm X). It is where the interracial social action organization the De Porres Club made equality stands a decade before the civil rights movement. Black plaintiffs later forced school integration in the public schools.

North O hosts long-lived and proud chapters of the NAACP and the Urban League as well as dynamic local affiliates of the Boys and Girls Club, YMCA, Campfire and Girl Inc.

The area does have high poverty pockets but it’s home to hard-working people, many with higher education and vocational training. It encompasses blue collar and white collar professionals, laborers, entrepreneurs and grassroots activists. It is a community of families, neighborhoods, small businesses and major manufacturers.

 

 

The ties that bind run deep there. For decades Native Omaha Days has brought together thousands from around the country for a week-long slate of events reuniting former and current residents who share North O as their birthplace and coming of age place.

The infrastructure of this inner city does have its challenges. There is still a disproportionate number of substandard houses, abandoned homes. vacant lots and food deserts. But an influx of projects is adding new residential units and commercial properties that are putting in place stable, sustainable improved quality of life features.

North O is the wellspring and nexus of strong community revitalization efforts such as those of the Empowerment Network, Omaha Economic Development Corporation, Family Housing Advisory Services and Omaha Small Business Network working to strengthen the community.

Redevelopment underway in northeast Omaha is in direct response to decades of economic inertia that set in after civil disturbances laid waste to the historic North 24th Street.hub. Urban renewal also severed the community, thus disrupting neighborhoods, creating isolated segments and diverting commercial development.

 

 

There was a time when North O possessed all the amenities it needed. Back in the day the dynamic entertainment scene acted as a launching pad for talented local musicians and a stopover for top touring artists. It was a destination place with its clubs, bars and restaurants featuring live music. Some of that same spirit and activity is being recaptured again. Harder to get back might be all the professional services that could be had within a few blocks but as more people move back to North O and set up shop, that could change, too.

Today’s revitalized North 24th mirrors similar community building endeavors on North 30th, North 16th, the Radial Highway, Ames Avenue, Hamilton Street, Lake Street, Maple Street and elsewhere. Business thoroughfares and residential blocks pockmarked by neglect are starting to sprout new roots and roofs.

An anchor through it all has been the Omaha Star. It continues a long legacy as a black woman owned and operated newspaper that gives African-Americans a platform for calling out wrongdoers in the face of injustice and celebrating positive events.

Decades before the Black Lives Matter movement, vital voices for self-determination were raised by North O leaders, including Mildred Brown, Whitney Young, Charlie Washington, Ray Metoyer, Dorothy Eure and Ernie Chambers. No one’s spoken out against injustice more than Chambers. He’s been a constant force in his role as a legislator and enduring watchdog for the underdog. His mantel is being taken up by dynamic new leaders such as Sharif Liwaru and Ean Mikale.

 

Fair Deal Village MarketPlace, N. 24th and Burdette Streets, North Omaha, Nebraska

Atticus Finch-Barack Obama give way to Bob Ewell-Donald Trump in this post-“To Kill a Mockingbird” world

January 24, 2017 1 comment

 

 

Hot Movie Takes  Atticus Finch-Barack Obama give way to Bob Ewell-Donald Trump

©by Leo Adam Biga

Author of “Alexander Payne: His Journey in Film”

 

In this 57th anniversary year of the debut of Harper Lee’s 1960  novel “To Kill a Mockingbird” and the 55th anniversary of the 1962 film adaptation’s release, I reflect on some sobering truths taken from that classic, much beloved story. Truths reflective of today’s American civil-societal-political landscape.

The irony is that the story’s revered figure of Atticus Finch, a fictional white Southern lawyer who represents so many universally admired qualities, found his most direct expression in this nation’s first black president, Barack Obama. The comparison was obvious  and Obama’s admiration for what Atticus embodies was made evident when in his farewell address he quoted something that fictional character utters in the book and film. Obama said, “If our democracy is to work in this increasingly diverse nation,  each one of us needs to try to heed the advice of a great character in American fiction, Atticus Finch: ‘You never really understand a person until you consider things from his point of view. Until you climb into his skin and walk around in it.'”

 

Barack Obama farewell

Associated Press

 

Yes, Atticus turns out to have racist leanings in the long-delayed sequel “Go Set a Watchman” but that’s hardly surprising given the time and place he came from. None of us are free of sin or fault. Good principles and actions don’t require perfection. The revelation that Atticus attended KKK meetings and opposed integration while still defending a black man accused of a rape he didn’t commit is simply acknowledgement of how complex race is and how far as a nation we have to go in addressing it. In his farewell speech Obama told blacks to learn the struggles of other minority groups and he admonished whites to acknowledge the stain of this country’s earlier generations are not gone. When minority groups “voice discontent,” he said. “they’re not just engaging in reverse racism or practicing political correctness; that when they wage peaceful protest, they’re not demanding special treatment, but the equal treatment our Founders promised.”

Barack Obama gave Atticus Finch his good name back and naturally, literature fans on Twitter

During his two terms the diplomatic, gentlemanly Obama championed social justice and opposed infringements on freedom and equality. Like Atticus, he walked the walk of virtue and idealism, of fair play and public service, and he extended his hand to the equivalents of Boo Radley and Tom Robinson in our midst. Though Obama had considerable support within the Democratic party and even more broadly throughout the nation and world, he was repeatedly criticized and stonewalled by the Republican controlled Congress. Many of us surmised this was due to the gridlock of entrenched, unwieldy party politics grinding the tried and true American system of across-the-aisles idealogical compromise to a halt. Racism may have been the bigger issue in play. The recent election revealed how reviled Obama is by a sizable segment of the American populace whose elected representatives are some combination of Republican, conservative and fundamentalist. Not every Obama detractor and Trump supporter is an out and out racist but it’s true about enough of them to show a clear pattern.

Trump’s angry man campaign was filled with bigoted, misogynistic, nationalistic rhetoric that put big business and capitalism ahead of human rights, civil rights, women’s rights, social safety nets and environmental protections. He referred to harsh law and order crack downs on those deemed to be disloyal dissidents and enemies of the state. He threatened closing borders and deporting undocumented millions. He connoted militarism with nationalism, patriotism and Christian values. In his first few days in office he seems hell-bent on following through on his alarming agenda.

All of this has gave permission to white supremacists and other hate mongers to react violently against people of color and different origins, to disrespectfully treat women, to ignore clear and present danger realities such as global warming and to override the will of the people by renewing projects that history tells us will deface and pollute precious lands and waters.

 

Donald TrumpDonald Trump.getty

 

It is as if Barry Goldwater, George Wallace, Ross Perot and Rudy Giuliani have somehow been melded together in the amoral heart of Trump. Just when America needs an Atticus Finch in its top leadership position, we now have someone who seemingly speaks more to the Bob Ewells of the world than to those of us who believe in the better angels of a more perfect union.

Instead of a voice of calm reason, considered compassion, resolute peace and sincere unity, we have a strident, histrionic voice of acrimony and division who speaks for the supposed moral majority and special interests of privileged white males. In movie-movie terms, I am reminded of the Franklin Schaffner adaptation of Gore Vida’s “The Best Man.” where the choice for a presidential nominee came down to a reactionary opportunist played by Cliff Robertson and a thoughtful, progressive essayed by Henry Fonda. It is unfortunate that Trump did not face anyone like the statesmen Fonda portrayed in “Young Mr. Lincoln,” “Advise and Consent,” “The Best Man” and “Fail Safe” or the socially conscious Everymen he played in “The Grapes of Wrath,” “The Oxbow Incident” and “12 Angry Men.” Hillary Clinton embodied some of these same ideals, but America just wasn’t ready for her or for a woman like her as President.

How unfortunate, too, that there isn’t someone like the noble Atticus Finch or other figures of high character that Gregory Peck played (“Twelve O’Clock High,” “The Big Country,” “Captan Newman M.D.”) to lead us.

 

 

Then again, we had our Atticus Finch situated in the most powerful post in the world and a chunk of this nation rejected him and what he espoused. Obama even sounded a lot like Atticus when he called on people who want a more perfect union to not merely be bystanders but to be participants: “Show up, dive in, stay at it…Presuming a reservoir of goodness in others can be a risk, and there will be times when the process disappoints you. But for those of us fortunate enough to have been a part of this work, to see it up close, let me tell you, it can energize and inspire. And more often than not, your faith in America — and in Americans — will be confirmed.”

For all its enduring popularity, “To Kill a Mockingbird” still only speaks to those willing to learn its lessons. Too many Americans, I’m afraid, are still unprepared to accept The Other represented by Boo Radley and Tom Robinson. Even in 2017 the notion of embracing all people, regardless of color, ethnicity, religion, socioeconomic status, physical-mental capability, is still too radical for a whole lot of folks to follow. These are the very same things Christians are called to do by 2,000 year-old teachings. Yet many bristle at the core idea of loving their fellow man even though this is the basis and essence for the very organized religions they’re baptized in and purport to believe.

 

To Kill a Mockingbird. Atticus Finch, Scout, Boo Radley... Just riveting, these relationships, these people.:

 

All of which tells us we are one hot mess of a nation. There’s nothing new about that, it’s just that events of the past few years make it easier to see things for how they really are. The cloak of civility and cooperation has been lifted. Maybe it’s a good thing the hate is there for the viewing and not all concealed or dressed up as something else. Now that it’s out in the open, at least we know who and what we’re dealing with moving forward.

We need all the Atticus Finch’s and Harper Lees amongst us to stand up and be counted lest the Boo Radleys and Tom Robinsons continue to be oppressed. The conspiracy of hearts who love what “To Kill a Mockingbird” and works like it teach about tolerance and love need to raise their voices against injustice. If this book and film that have touched so many can lead to social action, then their collective impact will be far greater than all the sales, box-office receipts and rentals they’ve earned over these last six decades.

 

Poverty in Omaha: Breaking the Cycle and the High Cost of Being Poor

January 3, 2017 Leave a comment

Vicious Circle

Breaking the cycle of poverty in Omaha

The December 2016 issue of the Reader featured a cover package on Poverty in Omaha, The High Cost of Being Poor. There are three stories on poverty and I have two of them, including this lead piece titled Vicious Circle, Breaking the Cycle of Poverty in Omaha. My other piece is headlined The High Cost of Being Poor, Aggressive Creditors Exploit Nebraska Law. My blog, leoadambiga.com, features many other social justice stories I have written over the years.

 

 

Owing money makes the poor a vulnerable target

Predatory creditors stop at nothing to collect from impoversihed minority communities

Economic Justice

 

Marlin Briscoe: The Magician Finally Gets His Due

December 27, 2016 Leave a comment

Marlin Briscoe has a story straight out of Hollywood and so it’s only right that a major motion picture about his life is in the works. The Omaha native made history on the field by becoming the first black starting quarterback in the National Football League but he achieved an even greater feat off the field by recovering from a serious drug addiction he developed after retiring from the game. The title of the soon to start production film “The Magician” comes from the nickname Briscoe was given during his legend-in-the-making collegiate career at then-University of Omaha when he’d improvise plays in the broken field with his arm, legs and head for big gainers and touchdowns. He played much the same way the one and only year he was given a chance to play quarterback in the NFL. Undeterred when teams denied him the opportunity to play signalcaller again, he made himself into a top-notch wide receiver who won All-Pro honors with the Buffalo Bills and back to back Super Bowls with the Miami Dolphins. All through his NFL caereer he encountered obstacles and he took them all on and won, including an anti-trust lawsuit. But the biggest fight of his life lay ahead and he licked that, too. At the time Briscoe made history and overcame his demons, little was made of it, but in the ensuing years more and more recognition and love have come his way, includng induction in the College Football Hall of Fame. The movie should help cement his case for eventual inclusion in the Pro Football Hall of Fame. My new Omaha Magazine (http://omahamagazine.com/) story about Marlin touches on these and other threads of his life.

Link to more Marlin Briscoe stories I’ve written at–
https://leoadambiga.com/?s=marlin+briscoe+

Link to my Omaha Black Sports Legends series at–

 

briscoe-cover

Marlin Briscoe

The Magician Finally Gets His Due

December 22, 2016
©Photography by Contributed
Appearing in the Jan/Feb 2017 issue of Omaha Magazine (http://omahamagazine.com/)

Omaha native Marlin Briscoe made history in 1968 as the NFL’s first black starting quarterback. His success as a signal-caller carried huge symbolic and practical weight by disproving the then-popular misconception that blacks lacked the intelligence and leadership to play the position.

The same racist thinking not only applied to quarterbacks but to other so-called thinking-man positions on the field (center, safety, middle linebacker) and on the sidelines (head coach, general manager).

briscoe4Even in those racially fraught times, Briscoe’s myth-busting feat went largely unnoticed. So did the rest of the story. After overcoming resistance from coaches and management to even get the chance to play QB, he performed well at the spot during his rookie professional season, never to be given the opportunity to play it again. That hurt. But just as he overcame obstacles his whole life, he set about winning on his own terms by learning an entirely new position—wide receiver—in the space of a month and going on to a long, accomplished pro career. He made history a second time by being part of a suit that found the NFL guilty of anti-trust violations. The resulting ruling, in favor of players, ushered in the free agency era.

After retiring, Briscoe faced his biggest personal hurdle when a serious crack-cocaine addiction took him to the bottom of a downward spiral before he beat that demon, too.

Now, nearly a half-century since making history and a quarter-century since regaining sobriety, Briscoe’s story is finally getting its due. His 2002 autobiography spurred interest in his tale. Major media outlets have featured his story. Modern-day black quarterbacks have credited his pioneering path, and several lauded him in video tributes played at an event titled “An Evening with the Magician,” held in his honor in September at Omaha’s Baxter Arena. A life-size statue of his likeness was dedicated at the tribute event. Also in the fall of 2016, he received the Tom Osborne Leadership Award. In December he was enshrined in the College Football Hall of Fame.

Now, he’s preparing to watch actor Lyriq Bent portray him in a major motion picture about his life, The Magician, set to film this spring.

If the movie, produced by his old Omaha University teammate-turned-actor John Beasley, is a hit, it will bring Briscoe’s role as a civil rights soldier to a much wider audience than ever before. Now in his early 70s, Briscoe fully appreciates all that has led up to this moment. He has no doubt he’s ready for whatever may come. Growing up in South Omaha’s melting pot, no-nonsense mentors and peers steeled him for life’s vagaries. Fierce competition toughened him.

“The training I grew up with was the best training any young man or woman could have,” Briscoe says.

On playing fields and courts, in streets and classrooms, he found an inner resolve that served him well through life’s ups and downs.

“That’s where I learned resilience—from my mom, my sister, and all my mentors, and neighbors. They all had this type of mentality and grit. It rubbed off on me and some of the kids I grew up with. It prepared me for anything. If I had not learned core values from growing up where I did, the things I did, the obstacles I overcame would never have happened.”

His cousin Bob Rose and Baseball Hall of Fame pitcher Bob Gibson’s oldest brother Josh Gibson were among a cadre of local coaches who inspired youngsters of Briscoe’s generation. 

briscoe1

“You had to go through them if you wanted to do something wrong, and you didn’t want to go through them,” Briscoe says. “Our mentors were down at the Northside Y, at Kellom School, Kountze Park, St. Benedict’s. They cared about where we were going in life.”

When Briscoe was bullied as boy, Rose gave him a “magic box” filled with the tools of various sports—a baseball, football, basketball, and boxing gloves—with the admonition that if he mastered these, he wouldn’t be bothered. He did and wasn’t. The magic box became the gateway for the Magician to do his thing.

Briscoe grew up respecting adults, all adults, even winos, hustlers, and prostitutes.

“They told you to do something, you did it, and went on about your business,” he says.

He conducted himself in a way that in turn earned him respect as a young leader. Virtually all the athletic teams he played on growing up consisted primarily of white players, which meant his entire athletic life he was advancing diversity. Long before he found immortality with the Broncos, he was the first black quarterback on youth teams, at South High, and then at Omaha University (now known as UNO).

Though he lived in South Omaha, Briscoe made a point of going to the proving grounds of North Omaha, where there were even more great athletes and a particular endurance test and rite of passage.

“Off Bedford [Avenue] by Adams Park, there used to be The Hills. It was like the barrier and motivational place where top ballplayers like Gale Sayers and myself would go and work out. Sometimes, I would be up there early in the morning by myself running those hills. I always tell young people today, ‘It is what you do when nobody sees you that defines and determines your work ethic and how you will turn out.’

briscoe3

“There were plenty of guys with more ability than myself—who were bigger, stronger, faster—and while they worked hard when eyes were on them, they slacked off when they were alone. A lot of guys who never made it regretted not putting out the effort to match their ability.”

Briscoe might never have made history if not for some good fortune. He started at quarterback for Omaha University his sophomore and junior years, putting up good numbers and earning the nickname “Magician” for an uncanny ability to escape trouble and extend plays with highlight reel throws and runs. Just before what was supposed to be his senior year, 1966, he got undercut in an all-star basketball game at Bryant Center and took a hard spill. He went numb and was rushed to the hospital, where doctors decreed he was injury-free. He started the ’66 season football opener versus Idaho State with no ill effects. He had a monster game. Then, late in the contest, he took a hit that caused his neck to swell. When rushed to the ER this time, X-rays revealed a fractured vertebra. He’d competed with a broken neck.

Doctors told him his days playing contact sports were over. He accepted the harsh news and dived into his studies, ready to move on with life sans football. Then during a medical checkup, tests confirmed his bones recalcified, and he was cleared to play again. He got a medical hardship waiver from the NAIA and went on to have a huge senior season in 1967, earning small college All-American honors and getting picked in the 14th round of the NFL draft.

He’s convinced he wouldn’t have taken snaps in Denver, which drafted him as a defensive back, if he hadn’t negotiated his own contract to include a clause he be given a three-day tryout at quarterback. He so dazzled the media and the public during the open practices that once the season began and Denver QBs went down due to injury or were benched for poor play, he got his shot and ran with it.

Briscoe’s larger-than-himself magic enabled him to make history in a crucible year for America—a year of riots, anti-war protests, assassinations, and civil rights struggles.

“For some reason, divine intervention maybe, it just seemed the stars were aligned in 1968 for a black man to break the barrier at that position,” he says. “It just seems 1968 was the pivotal year for all African-Americans, for all Americans period. For me to do it in ’68 is just eerie, the way that happened.”

So much of his NFL experience, he says, involved fighting “injustices.” Released by Denver and denied playing quarterback again, he excelled at a new position. Blackballed by the league for challenging its power, he won a hard-fought battle for himself and fellow players.

He insists he was not resentful for being shortchanged at quarterback.

“I wasn’t bitter, I was disappointed,” he says. “When you’re bitter, you give up, you take all this stuff personally, and you quit. I tell young people, ‘You’re going to have disappointments, and you’re going to be treated unfairly, but you can’t be bitter about it.’ Instead, you roll up your sleeves and fight whatever negative things come your way. Plan A doesn’t work? You go to Plan B. Life is just that way.”

Only after walking away from the game to be a broker in Los Angeles did he meet a foe—crack cocaine—that got the better of him. Before his recovery, he lost everything: his home, his fortune, his family. 

briscoe5“Here I was on a park bench trying to get some sleep in the heart of L.A. after owning homes and property,” he says.

What was so maddening about it is that he had done everything right. “It was not like I left the game with nothing,” he says. “I left the game correctly, sitting on easy street. I had wise investments. I prepared to leave the game by going to school and getting additional degrees. I was not hurt. I was in perfect physical condition.”

But in the vacuum of his post-athletic life, without the daily disciplines of workouts and team dynamics, he slipped into an unhealthy lifestyle.

“I let my guard down. I wasn’t really prepared for the L.A. scene because my whole life was always about precision, being responsible,” he says. “Then, when I didn’t have to meet all these different obligations and being single, I wasn’t rooted in one direction—I was just partying. You know, bring it on.”

No one who knew Briscoe before could believe he was in the grip of something that controlled him so completely, least of all himself.

“I had been a player rep. I was the one they always came to just as I was when I was a kid. I was the one people always came to for sage advice. And I never did drugs in the NFL,” Briscoe says.

But there he was, enslaved to a habit he couldn’t kick. Through it all, even losing his Super Bowl rings as collateral for a bank loan, he never forgot who he was inside and what he had done. Though homeless, penniless, and stuck in a jail cell when Doug Williams became the first black quarterback to lead a team to an NFL title, Briscoe felt he shared in that victory, too.

“I felt proud on one hand, and disappointed in myself on the other hand,” he says.

He sank lower than he ever thought possible, but he came back to whip that challenge, too: “The thing is, I always knew I would let go of that descent. I always knew and prayed I’d get back to that person all Omaha knew as this accomplished individual who conquered the NFL and enjoyed all these triumphs. The people that knew me are so elated now I’ve overcome my post-career meltdown because I had been a champion for them, fighting the NFL. I was always fighting for them and fighting for myself. I put myself in positions as a player where my voice could be heard.”

Even though it was decades ago, he believes defying and defeating the NFL’s monied interests left a blemish on his career that got further stained when he was traded several times as persona non grata.

“I’m not bragging or anything, but if I had been any other player, I guarantee you, I’d have been in the NFL Hall of Fame a long time ago. Nobody had ever done it—making history as the first black starting quarterback. People don’t realize I was also the first black holder on extra points. Counting cornerback and wide receiver, I played four different positions in the NFL, and I’m not sure anybody did that before. Then you add in the fact I made All-Pro as a receiver within two years of switching positions and went on to win two Super Bowls.”

Efforts are underway to rectify his absence as a Canton inductee via a write-in campaign to the Hall’s Veterans Committee.

Just as Briscoe wasn’t bitter about being shut out from playing quarterback after his rookie year, he wasn’t bitter that other blacks followed him into the league at that position.

“If I had not succeeded in 1968, James Harris would not have gotten drafted by the Bills as a quarterback out of Grambling in 1969. If I would have failed, they would have brought James in as a tight end. But the fact I was a litmus test and succeeded, they could take a chance on a black quarterback, and James was drafted.

“Ironically, he and I ended up being roommates in Buffalo. We knew each other’s plight. We would have conversations after practice. I would tell him different things that were going to happen to him and to be prepared for them.”

While Briscoe is known as the first black starting QB, another black man, Willie Thrower, briefly got into two games as a QB with the Bears 15 years before Briscoe’s experience with the Broncos. High off his rookie year success, Briscoe had a chance meeting with Thrower in Chicago. The two men hit it off.

briscoe6Briscoe, Harris, Doug Williams, and Warren Moon have formed an organization called The Field General that uses the still-exclusive legacy of the black quarterback to educate and inspire young people. Blacks still comprise but a fraction of the professional QB ranks. The same is true of head coaches, coordinators, and general managers. That fact, combined with the journey each man had to make to get to those rarified places, reveals just how far the nation and league still have to go.

Never in his wildest dreams did Briscoe imagine his story would get so much attention this many years after he played.

“It just goes to show that, if you never give up, a lot of these things will come your way. Sometimes things come late, like this movie project about my life,” he says.

Briscoe says he only agreed to let his story be told in a movie if it stayed true to who he is and to what happened.

“It’s not for self-gratification,” he says. “It’s hopefully as an inspiration for others that you can overcome any obstacle if you really want it. I look back on my life and see what it can do for others. It’s not just a football movie. If it were, I probably wouldn’t be a part of that interpretation of my life. My life is a lot more than just football.”

He’s sure the movie’s message of “if you never give up, you’ve got a chance” will resonate with diverse audiences. He’s proud to be living proof that anything can happen when you keep fighting.

Visit marlinbriscoemovie.com for more information.

 

Camille Metoyer Moten: With a song in her heart

December 26, 2016 Leave a comment

Omaha has a corps of performing artists who command a level of admiration and respect that rises above the norm. These special entertainers have earned this status by the high craft and integrity they exhibit. When it comes to musical theater and singing, Camille Metoyer Moten is pretty much at the head of this class. She’s been captivating audiences for some four decades. She’s won all kinds of accolades and awards for her artistry. Not one to rest on her laurels, she’s as busy today as ever and she may just be in her prime now in her 60s. She’s as smooth and unruffled on stage as one can be, but don’t mistake her carefree manner for being untouched by trouble or pain. She’s seen plenty of both. Her from-the-gut performances draw on a lifetime of experiences, some of them tragic and traumatic, others joyous and blessed, and always informed by her deep faith, unflagging spirit and unflappable demeanor.

My New Horizons cover story on Camille appears in the January 2017 issue hitting stands and arriving in mailboxes the last week of 2016. My blog leoadambiga.com also features earlier stories I’ve done on Camille and other Omaha songstresses. Link to some of these stories at –

https://leoadambiga.com/2016/02/15/omahas-black-sirens-of-song-and-spoken-word/

And here are links to yet more stories I’ve done on popular Omaha singers:

Mary Carrick

https://leoadambiga.com/?s=mary+carrick

Anne-Marie Kenny

https://leoadambiga.com/2011/05/28/life-is-a-cabaret-the-anne-marie-kenny-story-from-omaha-to-paris-to-prague-and-back-to-omaha-

Karrin Allyson

https://leoadambiga.com/?s=allyson

Quiana Smith

https://leoadambiga.com/2011/01/23/quiana-smiths-dream-time-2/

 

 

Camille Metoyer Moten: With a song in her heart

©by Leo Adam Biga

Appearing in the January 2017 issue of the New Horizons

 

Lady sings the blues

Classy, sassy Camille Metoyer Moten has entertained with her cabaret singing and musical theater performances since the late 1970s. Besides being much beloved, she’s considered a real pro. Her much sought-after stagecraft has earned critical acclaim as well as Omaha Community Playhouse and Theatre Arts Guild awards.

The free, easy way she handles a song and wins over an audience belies the family tragedies and personal struggles she’s endured. Listen and look close enough and you’ll detect the wistful blue notes of the jazz vocalists she grew up listening to. Like them. she knows about pain. Her late parents were at the forefront of Omaha civil rights work before their lives were cruelly cut short. Her mother Lois died of brain cancer at age 43. Seven years later her father Ray was shot to death at the family barbecue joint at age 52.

Bigotry and bias have confronted her. Illness has attacked her.

A strong faith, a sure sense of self and a rock solid marriage to husband Michael Moten have helped Camille cope with loss and setbacks and thus avoid the pitfalls many of her idols suffered.

Music was all around her as a girl. She and her sister Lanette, also an award-winning musical theater artist, inherited their singing chops from their mom. Lois would harmonize, scat and sway to records she played in the family’s northeast Omaha home.

“She was a wonderful singer,” Camille recalled. “We grew up listening to lots of jazz albums. Dinah Washington. Billie Holiday. Sarah Vaughan. Nancy Wilson. That was her thing. She was so into it.”

Her mom oft-told the story how she auditioned for and was asked to tour either with the great Count Basie or Duke Ellington but turned the opportunity down. Though flattered by the offer, Lois was engaged to her future husband, Ray Metoyer, a serious Creighton University student not about to let his fiancee go on the road.

Camille began showing off her own pipes as a toddler.

“I wanted to sing but I didn’t know a song, so I would sing about the furniture and anything that came into my view.”

Encouraged by her mother, Camille learned lyrics to standards but was timid to have an audience around.

“She loved that I would sing but I was really shy to sing, so I would be like in the basement singing and if I’d hear somebody coming. I’d stop. I would always pretend there was a microphone.”

Her first time on stage came in the first grade at Sacred Heart School when she, Lanette and their brother Raymond sang “Do Re Mi.”

“I just remember being so scared but I wanted to do it so bad.

Everybody was like, ‘Oh, my gosh, this little girl with this big voice.’ I think my desire to perform really got reinforced then because people made a big deal of the fact my voice was fuller. The more I sang for school programs the more compliments and confidence I got.”

 

SWING!!

 

IMG_1622

A wide music repertoire

Even early on she drew on diverse musical influences.

“There were so many things I liked. I loved the jazz. I also loved the musical theater. And I also loved classical music.”

The same holds true today.

“It’s a mishmash of several things. A lot of it’s Barbra Streisand. I always liked the way Nancy Wilson presented herself. Lena Horne, too.

Just very classy. So I always want to at least appear classy on stage because I’m really kind of an awkward person. But when I’m on stage I feel like I have a little more finesse.”

She holds Barbra in special regard.

“I think her voice is amazing. I just got to see her in concert for the first time in August in Chicago. My children bought me a $500 ticket. It was so awesome to listen to her. She’s 74-years old but she can still soar up to those high notes.”

No wonder then Camillle’s stoked about a March 31 tribute concert she’s doing in honor of her idol. The “Bubbly with Barbra” show at the Playhouse is a fundraiser for the theater’s operations.

“I’m so excited about it because I’ve been worshiping her since I was 11-years-old,” Camille said.

Kathy Tyree, Dave Wingert and Jim Boggess will join her on select numbers.

 

camille-ocp-reduced

 

IMG_1569

 

Race

The role of Fanny Brice in Funny Girl that Streisand made famous on stage and in film resonated strongly with Camille, who made playing the part a life-time ambition she realized in 1994.

“I related to that character so much. She’s this odd little duck that has talent that nobody could appreciate because of her package,” said Camille, whose light-complexion, blonde-hair and green-eyes made her conscious of her nontraditional African-American appearance.

“I got a lot of comments about my look.”

The many shades of black were inescapable, she said, because “my family’s all different colors and it’s something that really sticks out.” She added, “My father was very fair, my mother was pretty brown, so all of us came out different. I came out with all the recessive traits.”

Descendants on her father’s side are of mixed race Creole heritage. Both her paternal and maternal family trees owned property in the South. There’s quite a story behind her father’s family line in Louisiana. The first Metoyer there built a plantation and his son Claude Thomas Pierre Metoyer befriended a family that owned a slave, Marie Coincoin, with whom he became infatuated. He built a plantation for her and she lived in the house with him and they had children together. Threatened with excommunication by the Catholic Church, he built her a separate house in back. When he decided to have white heirs, he gave her her freedom and let her keep their children. She became a leading entrepreneur in the state, even building her own plantation. The black branch of the Metoyers lived as aristocrats.

Lanette and Camille dream of making a musical out of the story.

Their mother grew up in Mississippi and though their father was born in Omaha, thier grandfather Victor came from Louisiana. Victor worked as a railroad dining car waiter for Union Pacific. He and a fellow waiter opened a BBQ eatery. They alternated operating it based on their UP runs. When Victor was on his Omaha to California run, his partner manned the joint, and when his partner was on his Omaha to New York run, Victor handled things. Grandpa Victor also co-founded the adjacent Key Club. Eventually the Metoyer family owned the restaurant outright. Three generations ultimately ran it.

Camille’s father dropped out of Creighton just short of earning a degree in order to support his family. He worked many years as a Boys Town counselor. Camille and her siblings got to know some of the boys. One escorted Lanette to a homecoming dance. Raymond vacationed at Lake Okoboji with students his father brought to camp.

At night Ray Metoyer helped his father Victor run the family barbecue place. Ray’s eldest son Raymond, who became a television news reporter, partnered with his father and grandfather in the business.

Camille knew her dad caught flak the way she did.  “We looked alike, so he was very sensitive to making us understand that it doesn’t having anything to do with anything.”

Both parents made sure their kids knew that light or dark needn’t define them.

“They always impressed upon us that that didn’t make a difference,” Camille said. “That was their main thing with us – it doesn’t matter what you look like. Your blackness has nothing to do with your physical appearance.”

 

Image may contain: 2 people, people standing, plant, tree and outdoor
Camille and her brother Raymond on the family home’s backyard, circa 1970s

 

 

Civil rights

Camille’s parents were both active in local civil rights efforts. Her father was part of the social action group the De Porres Club whose boycotts in the late 1940s and early 1950s forced businesses to hire and serve blacks. He also headed the Urban League of Nebraska when it hosted Malcolm X and Jesse Jackson in separate events. Camille met both leaders and recalls Malcolm X as a very tall and tender man who mentioned that she reminded him of his daughter.

Her folks also participated in demonstrations by the 4CL or Citizens Coordinating Committee for Civil Liberties in the ’60s. The Metoyer kids got dragged along to organizing meetings at Zion Baptist Church.

“It seems like it was always in the summer. It was so hot and packed in, everybody sweatin’ on each other,” recalled Camille.

She and her siblings were young when the civil rights marches and speeches filled the airwaves.

“I don’t think we understood the whole significance nationally. I understood there needed to be change and it was going to make the world the way it should be. Our parents sort of instilled in us this is what it’s going to be, this is what we’re working for, this is where we’re going to get to. They were dedicated to lifting black people to the place that we deserve to be. That was their focus. That, and impressing upon us that you’re just as good as anybody, so there’s no reason feeling like you’re falling short.

“It was very important to them. Sadly, we’re not there all these years later. As I reflect back on it, I appreciate more or understand better the sacrifices they made to do the things they did.”

Social justice was discussed in the Metoyer home.

“We were the family that all sat down to dinner together and all the conversation was about what was going on.”

Once, Camille was with her folks and others at a protest when they were all arrested.

“We were protesting for open housing down at the City Council chambers. I was in the fourth grade and my parents decided it was important I participate. The police came and we all sat down. I sat on my dad’s lap and when the police picked us up they had to pick us up together. He was going to make this as difficult as he could for them.”

A press photographer snapped a pic that went national of cute little Camille in braids, tortoise shell frame eyeglasses and dress carried by her indignant but dignified father like a precious bundle.

“This picture of my dad carrying me out went out on the Associated Press all around the country.”

“I remember being excited because there was so much energy. I knew what we were doing was something very important about fighting for our rights as black people. I remember being just a little bit scared by the police but my dad was there so I felt very safe with him.”

The poignant photo got new life five decades later when Camille and Lanette appeared in Having Our Say, a play about the real-life Delany sisters living through generations of racism. The themes echoed things the Metoyers experienced themselves.

Doing the play brought Camille and Lanette, who’ve always been close, even closer together. The project also gave them a chance to honor figures like their parents who had the courage of their convictions to stand up and be counted.

“It’s like finally they’re having their say,” Camille said.

 

Camille and her sister Lanette in Having Our Say
Image may contain: 2 people
Camille’s late parents Lois and Ray Metoyer

 

Strong stock

Hardly a day goes by Camille doesn’t think of her parents.

“My dad was the epitome of a professional, educated man, although he could be very crazy as well. But I never heard him swear. But my mother on the other hand would come out with a few things if she got irritated enough. His thing was always about professional appearance and how you present yourself. My mom was concerned about that, too, but she was more of a gregarious, outgoing, earthy person. She was maybe a combination of what Lanette and I are now,”

Her parents’ fight for equal rights got personal when her family integrated all-white Maple Village in 1966.

Camille said, “My father wanted to have a closer commute to Boys Town and he felt the education we were getting in North Omaha schools was not equivalent to what west Omaha schools offered.”

Even aspirational couples with the desire and means to live outside segregated areas had to take special measures to get around red lining practices and restrictive housing covenants. The Metoyers had black realtor George Thomas secretly negotiate with NP Dodge to arrange for the family to purchase their new house.

“We had to go through the backdoor to get that house,” Camille said.

‘We surprised the neighborhood because they didn’t know a black family was coming.”

Lanette recalled, “It eventually was known blacks had purchased the house and therefore our dad, grandfather and several white male employees that worked for my dad would spend nights at the house until we moved in.”

Camille said, “We had a lot of backlash. It was crazy.”

A petition circulated to try and prevent them from moving in.

The family moved in late at night to avoid a scene but some neighbors gathered outside to glare.

For several nights. Camille’s father and grandfather stood armed guard inside. It reminded her mother of what she thought she’d left behind in Mississippi.

“We knew it was something kind of groundbreaking but we were prepared because all of our lives we’d been taught to be on the front-line,” said Lanette.

The siblings remember threatening phone calls, nails scattered in the driveway, strange cars pulling up at night to train headlights in the windows, tense looks, awkward exchanges. Once, the house got egged and shamed neighbors hosed off the mess.

At their various schools the kids encountered racism.

“If things happened at school we’d come home and talk about it. We always just knew how to handle it. Before we moved there, our parents anticipated there would be issues. They warned us. But they added we have every right to be where we want to be and don’t let anybody tell you anything different.”

Camille said her parents admonished she and her siblings to  “always address discrimination from an educational standpoint,” adding, “They were like, ‘Don’t get mad, just be enlightened.'”

Whatever the sitaution, like the family being refused service at King Fong’s downtown, it became a teachable moment.

“My mom explained how it was their loss and we would encounter people that would not like us without ever knowing us. I guess they always gave the impression there was something wrong with those people – there was nothing wrong with us. They told us when you come across people who are ignorant you educate them, you don’t argue or get angry, because they need help. To this day, if I have the opportunity to enlighten somebody, I will, as opposed to getting angry. That works with my whole Christian faith.”

Finding a foundation for her music and faith

The Metoyers found acceptance if not fairness. Auditioning for a role in Guys and Dolls at Burke High School, Camille said the music director opposed her being cast on account of her race. Camille had an ally in her drama teacher, who swore “she’d never let that happen again.”

Despite resistance, her passion for performing wouldn’st be denied. She planned going to California to pursue a singing-acting career but then her mother became ill. Losing her mother, she said, “really took me off my path.” She wasn’t sure what to do next when a friend of her father’s who ran the music department at Xavier University in New Orleans convinced her to give it a try.

“It sounded just great to get away. I went and auditioned and got a       scholarship. That’s how I ended up there. The great thing about Xavier is that I got classical training but I also sang with the jazz band,

so now I’m able to do all of that – which makes me marketable.”

Still bereft by her mother’s death and far away from home, she searched for answers and came of age as a young woman.

“I was really angry and I became kind of agnostic. I thought how could God take such an amazing person. I lived like that for awhile. I hooked up with Michael and we were into the fast scene.”

Getting high became her lifestyle. Then one day Michael had a born again experience.

“He was completely changed after that day. I was still getting high and just out there and suddenly we were incompatible because he didn’t want to do the things I wanted to do anymore. My own born again experience took a while. I refused to go to church with him and continued to party while in my heart and mind knowing I wanted what he had. I just didn’t want to give up me.

“Finally one evening he was going to church and he begged me to come with him and I said no. He was literally in tears. I found out later he was thinking that if I didn’t come this was to be the end of our relationship. After he left for church I felt bad, so I drove to the church. When they had the altar call he took me down but I didn’t want to go – I was not ready.”

Her willfulness wilted in the following days.

“God made Himself more and more real to me until finally one day I agreed to pray with Michael and some of his new friends from church.  That night as I prayed God took over my tongue and I spoke in a heavenly language which the Bible explains is God’s spirit dwelling in us. And by that spirit being in us we can now be saved.

“From that moment my life changed – no more getting high, no profanity. My view of mankind changed and my purpose changed. It was no longer about me but about Him.”

 

Image may contain: 2 people
Camille and her husband Michael Moten back when they were first married
Image may contain: 2 people
Camille and Michael today

 

A new beginning from a terrible end

Her faith was soon put to a severe test when her father was murdered at the family restaurant on a late summer evening in 1979.

“A year before there was a woman that got hired at the restaurant. He caught her taking money and also soliciting the male clients and so he fired her and she didn’t like that. She would call the house and tell people she was her man. She harassed him for a year and it was getting more and more severe: a window broken out in the house;  showing up at his job and security escorting her off campus.”

On September 17 the woman went to the restaurant and confronted Metoyer with a small caliber gun. She fired it once and the bullet struck him in the neck and he bled out on the scene.

Not long before, Camille and Michael, who were by then married and raising their first child, interviewed to be family teachers at Boys Town and they were hired. They moved to Omaha to start their new life and career in the shadow of Ray Metoyer’s senseless death.

“The thing that was so difficult about it at the start was that it was two weeks after my father was murdered, so I was coming to the place where he worked. i heard over and over again how much they admired and respected him and what a loss it was, so I was constantly reminded of him.”

It was the most challenging period of her life until a bout with cancer 30-plus years later.

“I moved across country, I lost a loved one and I had a 2-year-old. I had all of those stressors. Today, Michael looks back and says, ‘How did you get through that?’ Through a lot of prayer and believing this is where God wanted us to be.”

The decision to be a family teacher continued her parents’ legacy.

“That’s how we were raised. It’s always about giving back, contributing, making a difference, helping however you can. Besides, once Michael and I  gave our lives over to Christ it seemed like a natural thing to do..

“We had the very first girls program. Boys Town had just started the family teaching model. We had an off-campus home at 35th and Davenport. Our girls were all local, so we were able to work with and counsel parents. Then we moved to campus, where we had a transitional living home for boys to learn to live independently.”

It took some adjusting for Camille and Michael, too.

“Initially, the greatest challenge if you have children is being able to divide your time in a way that everybody has a significant amount of you without sacrificing one for the other. A lot of family teacher couples are not successful with that. My kids became very close with a lot of those Boys Town kids.”

She said an important lesson she learned is “don’t take things personally and understand what’s happening.” She added, “There were some kids that can really get under your skin but you can’t let them get under your skin. I would always think, If only I could have had you as a baby. I would have loved to have given them what they should have had early in life. That always made me soften my anger.”

Feeling burned out after 16 years, Camille left Boys Town for a job at the YWCA coordinating programs that introduced girls to nontraditional careers. Then she applied her behavioral management skills to the former Western Electric plant then recently renamed Lucent Technologies, where her sister worked.

 

camille-murphy-haar-reduced

 

IMG_0985

A performing life

Meanwhile. Michael, an ordained minister, felt the call to form a church, One Way Ministry, in 1994, that he still pastors today. For years, Camille served as music director and only recently stepped down so that she can sing in the choir.

All the time she worked regular day jobs she rehearsed and performed musicals and concerts evenings and weekends. Her music career took off when she joined a cabaret troupe formed by old friend Becky Noble. They’ve long paired as Nebraska Arts Council touring artists. Camille’s performed with the Omaha Symphonic and Opera Omaha chorus and she’s toured with the Nelson Riddle Orchestra. She sang with Soli Dep Gloria Cantorum on a concert tour to Barcelona, Spain.

She’s enjoyed a long collaboration with Chuck Penington and his band. She also headlines her own band. Her keyboardist, David Murphy, offered his take on what makes Camille such an enduring favorite.

“The reason the community loves her is she’s authentic. She’s the real deal. She walks the walk and sings her heart out. It all comes from her soul. She intuitively manages to find the heart of any song,” including ones he’s penned. “It’s about the music and not about her. She consistently respects and enhances the material she tackles and still makes it her own. I absolutely believe she could’ve gone to either coast and had a brilliant career as a performer. Omaha is lucky to have her.”

When Camille’s two kids were small she dragged them to rehearsals. Even today, with her kids grown and out of the home, she’s busy booking, preparing and doing shows. Though her schedule can be draining, she said performing “fills you back up.”

Even though art should be color-blind, race can be an issue, as when she broke color barriers as Fanny Brice in Funny Girl and Eva Peron in Evita, and when her voice and repertoire aren’t what people expect.

“I don’t have a gospel voice. People expect that because I’m black. I was raised Catholic, so I didn’t have that whole gospel thing. Jazz and musical theater are my influences.”

She’s also a rather subdued performer.

“It’s the purity that I’m into and not all that other stuff and I think people eventually appreciate it.”

At the invitation of friend and sometime collaborator Kathy Tyree she sang at Salem Baptist Church last summer for a gospel program.

“I don’t have gospel arrangements, so I sang ‘Somewhere Over the Rainbow’ because I find that song very spiritual and they loved it. It was the most talked about song of the evening amidst all these amazing gospel songs. It was the purity of that that people related to.”

Her muted voice blended with Tyree’s big sound for a Divas By Design show they did at the Blue Barn Theatre last fall. The two go way back.

“Camille and I did our first show together 26 years ago: Sophisticated Ladies at the Playhouse,” said Tyree, “What I admired most about Camille back then is what I admire most about her now and that is her peaceful spirit and how beautifully and easily she shares her gifts. She’s not only an amazing artist but a beautiful person as well. Her unshakable faith in God keeps me in awe and her love for people is one of the many reasons I love her so much.”

Not long after Camille’s spiritual awakening in New Orleans and her resettling in Omaha, she landed the role of Mary Magdalene in a production of Jesus Christ Superstar at the Orpheum Theater. She went in to audition for a spot in the chorus but got the plum female part. Her performance won raves and established her as a bright new talent. But she was wary before the opening night curtain rose.

“I had never done anything other than high school-college shows. It was a big leap. I remember standing backstage looking out at that full house and my heart going ker-thump, ker-thump, ker-thump. I started saying a prayer and I heard God say, ‘What is wrong with you, this is your dream, I’m giving you one of the desires of your heart – would you please enjoy it.’ He made me think how trivial this really is compared to homelessness and sickness and that I should just go out and do what I do and entertain the audience.

“I don’t think I’ve gotten nervous-nervous like that again. It just calmed me right down.”

Whether doing a play or a concert, her approach is “very consistent.”

“Doing musical theater, whatever that character is, that’s who I am. Doing cabaret, each song is like its own little vignette, so every song is its own character. When I perform my purpose is to take whatever the composer and lyricist wrote and try to interpret it with whatever he or she had in mind and bring the audience into it. I want to be true to that.

“Somebody told me a long time ago it’s not only about a pretty voice. and it really isn’t it. If you think about all the successful entertainers it really in’t about their singing … but it’s what they do with a song, it’s the passion they bring out of a song. Once you know the song and once you understand what’s behind the song then that’s what happens.”

Her sister Lanette’s seen her on stage perhaps more than anyone and she marvels at Camille’s “persistence to step outside her comfort zone and create any character she tackles and make it believable.”

 587447Surviving health crisis and moving on

Everything was coming up roses for Camille personally and professionally when she got diagnosed with breast cancer in 2012. As a woman of faith, she sought healing through prayer. Heeding her Higher Power, she canceled a surgery and found a new doctor.

“She confirmed I still had the cancer. I told her my story and she revealed she is a woman of faith, too, Most doctors don’t talk about it.

She said, ‘First of all, I understand where you’re coming from spiritually and secondly you’ve had this cancer for a really long time – it is a slow growing cancer and if you’re not ready to have surgery then we don’t do the surgery because then you won’t heal.’ She had total respect for my belief. I knew God provided me her. He got me to the right team.”

Camille underwent radiation chemo treatments, hormone blocker regimens but in the end she required a mastectomy. She continued performing during most of the journey, even proudly displaying her bald head. She had reconstructive surgery in 2014 and 2015.

Not one to dwell on anything, she’s moved forward from the experience.

“The mindset I had at the time is my mindset and it goes along with my philosophy – that’s over, it was a little side step.”

She chose to share her cancer odyssey with the public via Facebook posts. She and her “prayer warriors” exchanged messages of hope about the challenges, indignities and joys of the journey. Her observations ranged from silly to sweet to sublime. Thousands followed her progress, including the inevitable ups and downs, and she later compiled her affirmations into a book.

“I just want to be able to make people understand that Jesus is our healer. We use medicine also but it doesn’t always work. He’s the plan and medicine is the backup plan. I think the more people understand that the better the outcome is.”

Camille’s as busy as ever these days. “I just think of it as this continuum that keeps going.” It’s not like she’s slowed down since realizing her dream of playing Fanny Brice. “That was a high, high point for me but then as things developed there’s been so many other high points.”

It always comes back to keeping it real and finding the root.

“Somebody told me not too long ago, ‘When you sing, you sing from here,’ putting her hand on her midsection. I said, ‘Oh, thank you very much,’ and she said, ‘I mean that, not everybody sings from there.’ And I think she meant from my core, from my heart. That’s what I strive for, that’s my intent.”

From her gut, springs all the glory.

Visit www.musicbycamille.com.

Read more of Leo Adam Biga’s work at leoadambiga.com.

%d bloggers like this: