"Headlines and Footlights," June 10, 1944
Excerpt from Washington, Fredi, “Headlines and Footlights,” People’s Voice, June 10, 1944, p. 22
Many people have asked me whether I’m supposed to use this column for topics other than that of the theatre and its people. Seems there has been quite a lot of discussion about the fact that I have sounded off any number of times on the subject of politics, soldiers, etiquette, the church, etc. These columns are written deliberately to stimulate discussion not about me or whether or not it is in my province to take as my subject this or that phase of our national life but rather for thought and discussion of the subject itself which is projected in here.
As a matter of fact, the theatre and its people are very much a part of the war, church, politics and society in general. Therefore, whatever subject dealt with effects people of the theatre if not directly, certainly indirectly.
As an example, I am in receipt of a letter from a soldier stationed in Georgia who says, “This clipping is from the Atlanta Journal and I think it the most outrageous thing I’ve ever seen. Are those appearing so broke they must take such bookings--and humiliation? It’s really a disgrace--even in Georgia.” Signed: “A very indignant colored soldier.”
‘FOR WHITE PEOPLE ONLY’
The clipping of which the soldier speaks is a large advertisement in the Atlanta Journal which states that The Ink Spots, Ella Fitzgerald, Cootie Williams and his band, Moke and Poke, Eddie Vinson and Ralph Brown were appearing at the Auditorium. At the top of the ad in bold print, “For White Patrons Only,” makes very clear, how Jim Crow laws and discrimination in its every phase, effects the theatre. It is for reasons such as these that this column tries to stay on the beam.
THE IMPORTANCE OF FIGHTING
All of the above-mentioned artists are from New York and while they have run into this kind of segregation here and there, they have had to live with it to the extent that it gnaws at their insides the same as it does the soldier’s who has had to live with it.
When this troupe signed its contract in New York before starting the tour, the idea never occurred to them that they would play theatres whose policy is “white only.” Mind you, these performers are not ignorant that there are such theatres. But the importance of fighting these conditions--though they are far removed from their everyday lives--has not been thoroughly impressed upon their minds.
Perhaps Southern theatrical tycoons are looking for a loophole to back up their “white only” stand. Anyway, our own youth plays right into their hands when they deport themselves badly when their favorite Negro bands and stars appear in their communities.
BEST FOOT ALWAYS AT ALL TIMES
Bookers are in a dither as to handling of the situation. Daily they receive cancellations of top attractions allegedly because a group of teen age youngsters have broken up this or that theatre. This column does not for a moment intend to suggest that Negro youth is alone in this type of vandalism. The whites are just as bad. But because we are a minority group with the finger always pointed at us, we cannot afford to indulge in anything but the strictest adherence to “the best foot forward” at all times--man, woman and child. We must not put weapons in the hands of Southern theatre managers to use against us and our performers.
On the other hand, we do have a suggestion to make to our performers. There is a method by which they can begin to break down segregation and discrimination even in Southern theatres. Paul Robeson, Hazel Scott and now Marian Anderson, have put it into effect, and certainly the results have been good. The method is simply this: Those artists who are established and have box-office draw can and should have inserted into their contracts a clause stating that they will not play any theatre which does not admit Negroes. This would mean that all the lesser people in the unit could not play such a date.
THEATREGOERS MUST DO THEIR PART
On the other hand, the theatregoing public must not only do their part to breakdown discrimination but work also for the self-respect of the Negro population, as well. The artists’ fight without the help of the public would only result in many of the spots which now use Negro talent, closing their doors to us and using white talent exclusively. That has been done in the largest movie and vaudeville theatres in both Chicago [and] Detroit to name but two cities.
In checking with a few musicians who played this same Auditorium a few seasons ago, I found that this “for white only” policy is new since in every case, these boys played to mixed audiences season after season.
What is the reason for the change? Have we ourselves contributed to the change? We must work out a method whereby each artist and every member of an audience will become a committee of one to improve racial relations, so that we can get on with the business of creating a better world for all.