Tuesday, September 25, 2018

Arthur Ashe: Thoughts on a remarkable life


This year marked the 50th anniversary of the U.S. Open tennis tournament in New York City. In celebrating its history, the U.S. Open also celebrated the legacy of Arthur Ashe with a special photo exhibit on the grounds of the Billie Jean King National Tennis Center, a new logo for Arthur Ashe Stadium, and a virtual reality experience that transported viewers to 1968 for a front row seat at Ashe’s triumph in winning the first U.S. Open men’s singles championship over Tom Okker.

When Ashe won, he made history as the first African-American man to win the U.S. Open. In 1975, he became the first black man to win Wimbledon, beating Jimmy Connors. Over time, we would remember Ashe – the Jackie Robinson of men’s tennis – not only as a champion of his sport, but also he became a civil rights and human rights champion. By the time this pioneering athlete died at age 49, he had become much larger than tennis.

Acclaimed civil rights historian Raymond Arsenault is the author of a new, relavatory biography, Arthur Ashe: A Life, which is a close look at his life that presents much evidence to suggest that he was not only a great player, he was an extraordinary human being.

I had the opportunity to meet Mr. Arsenault, the John Hope Franklin Professor of Southern History at the University of South Florida, on opening day of this year’s U.S. Open, during a book signing at the U.S. Open Bookstore by Court 13. I was most interested to learn firsthand from the author what inspired him to write such an extensive – and insightful – biography that was nine years in the making, included 26 chapters bookended by a prologue and epilogue, and featured more than 150 interviews. After all, there were many sides to Ashe: he was a human rights activist, a philanthropist, a broadcaster, a writer, a businessman and a celebrity.

Arthur, whom Arsenault referred to Ashe on a first-name basis throughout the biography, was also an exemplary role model – not perfect, but “he came remarkably close to living up to his professed ideals.”

Arthur Ashe was born in Richmond, Virginia, in 1943. By age 11, Ashe became one of the state’s most talented black tennis players. In spite of this barrier, in 1960, Ashe won the National Junior Indoor singles title, which led to a tennis scholarship at UCLA.

In 1963, Ashe became the first African-American to play for the U.S. Davis Cup team, and two years later he won the NCAA singles championship. In 1968, he won titles in both the U.S. Amateur and the first U.S. Open, and climbed to a No. 1 national ranking. After he turned professional in 1969, Ashe went on to capture two more Grand Slams, winning the Australian Open in 1970 and Wimbledon in 1975. He retired in 1980, then served four years as the U.S. Davis Cup team captain and was inducted into the International Tennis Hall of Fame in 1985.

It’s been 50 years since Ashe’s victory at the first U.S. Open and 25 years since his death. He would have turned 75 this past July had he lived. Thankfully, his legacy has never left us, and as I learned from my brief chat with the author, it’s a great time to revisit and dig deeper into Ashe’s life story – his joy of the game – from public courts prodigy to consummate professional to Grand Slam champion to civil rights and human rights activist.

Arthur Ashe
In a recent NPR interview, Arsenault called 1968 as a defining moment for Ashe – not just because he won the U.S. Open. “Sixty-eight really begins his life as the Arthur Ashe that we know,” said Arsenault. “He did great things before 1968, was one of the greatest players in the world already. But as a human being, as someone who transcended sports, it began in ‘68.”

A thinking man’s player, Ashe was shy and generally reticent into his mid-twenties. He showed a parallel behavior on and off the court – polite and respectful – both in victory and defeat. “Then,” said Arsenault, “he took a sharp turn toward activism in 1968 and never looked back.”

The year 1968, was filled with trauma and turbulence in America. There were the spring assassinations of Martin Luther King Jr. and Robert F. Kennedy, the escalating tensions of the Vietnamese War could be seen on college campuses across the country, the Black Power movement was taking off and, soon, there would be police brutality in the streets outside the Democratic National Convention in Chicago.

Soon, Ashe became an activist off the tennis court – the premier public intellectual among American athletes of his time – speaking out about the responsibility black athletes, especially, had to their communities. After all, by the early ‘70s, he had become the world’s best-known black tennis players – and with his growing stature, he realized a responsibility to use his platform to help other black people.

“As the first black man to reach the upper echelon of a notoriously elitist and racially segregated sport,” Arsenault notes, “Ashe exhibited an extraordinary strength of character that eventually made him the most beloved and honored figure in tennis.”

Arsenault writes of Ashe, “He had both the opportunity and responsibility to use his talent and position for a higher purpose than fame or personal gain.”

According to Arsenault, Ashe was never an agitator. “He was very unemotional in his advocacy and his activism,” he said. “He was absolutely determined to have an impact on the broader world.”

As an athlete and an activist, Ashe’s passion off the tennis court was becoming outspoken about civil rights. He focused his attention on fighting apartheid in South Africa.

Ashe was never a threatening presence on or off the tennis court. Instead, as Arsenault described in his NPR interview, Ashe found other means for being seen and heard. “His personality was cool, a little removed. Very Obama-esque,” he said, comparing Ashe to former U.S. President Barack Obama. Ashe was loyal to a fault.

Author Raymond Arsenault signing
my copy of Arthur Ashe: A Life.
From 1979 on, Ashe default with a serious heart condition, and underwent multiple surgeries and blood transfusions, one of which left him HIV-positive. In 1988, following the completion of a three-volume history of African-American athletes, Ashe was diagnosed with AIDS, a terminal condition that he revealed four years later.

“Withdrawal was never an option for a man who had long identified with civic and social responsibility,” Arsenault writes. “Ashe followed his conscience even when it meant putting his comfort – or even his life – at risk.”

In 1993, after devoting the last 10 months of his life to AIDS activism, the valiant and courageous Ashe died of AIDS at the age of 49. He showed us that life is a journey – not a destination.

Looking back at Ashe’s remarkable life, Arsenault writes, “Never complacent, he had a restless spirit and an ever-searching intellect. Ironically enough, all of this philosophical and experiential turmoil was expressed in a reasoned, deliberate style that became his personal trademark.””

Ashe was so calm and poised on the outside yet so driven and turbulent on the inside.

“Arthur Ashe suffered many defeats, including a cruel and untimely death,” Arsenault writes. “Yet he was undefeated in the realms that mattered most – heart, soul, integrity, and character. In this important sense, there is no shadow to darken his legacy. What remains is the radiance of a good and great man w hose inner light shines outward for all to see.”

Photo of Raymond Arsenault by Michael Dickens © 2018.

Tuesday, September 18, 2018

Rewrite: Paul Simon’s old works newly considered

Paul Simon / Homeward Bound
Part of Paul Simon’s “Homeward Bound: The Farewell Tour,” which stopped at the Capital One Arena in Washington, D.C., last Friday for a sold-out show, includes the performing of songs from his new album, “In the Blue Light.” On both the album and in concert, Simon has returned to a body of work – specifically 10 of the artist’s favorite, although perhaps, less-familiar songs – to lend new perspectives by adding some new colors and textures, tweaking arrangements and collaborations, in pursuit of an ever-evolving ideal of his own poetic and musical genius.

It added a nice touch to the pacing of Simon’s two-hour show, which also featured a jukebox of familiar favorites, including: “Fifty Ways to Leave Your Lover,” “Still Crazy After All These Years,” “Graceland," “Homeward Bound,” and a Johnny Cash-inspired re-imagining of “The Boxer,” book-ended by a couple of Simon and Garfunkel chestnuts, “America” and  “The Sound of Silence.”

In spending a few hours with Rhymin’ Simon, it was like a showcase of the music of my life from a musician I’ve always respected and admired. As I observed all around me, everyone it seemed, was feelin’ groovy.

In the liner notes for “In the Blue Light,” Simon writes about choosing “songs that I thought were almost right, or were odd enough to be overlooked the first time around.” They include: “One’s Man’s Ceiling is Another Man’s Floor”; “Love”; “Can’t Run But”; “How the Heart Approaches What It Yearns”; “Pigs, Sheep and Wolves”; “René and Georgette Magritte With Their Dog After the War”; “The Teacher”; “Darling Lorraine”; “Some Folks’ Lives Roll Easy”; and “Questions For the Angels.”

Simon performed a few of these "rewrites" during the show I saw and shared interesting tales about each while introducing them – a nice touch.

In a promotional video for “In the Blue Light,” Simon reveals that “at the present, you have a chance to fix a mistake you made, especially, when the song you’re playing is 25 years-old or more than that, and comes from the Seventies. That’s interesting. The way I wrote melodies then, I can take the lyrics and clarify what the point of the song is. Maybe, it wasn’t clear. Maybe, I didn’t know what the point of the song was. Sometimes, it takes a long time to figure out. ‘Oh, I see, that’s what I’m talking about.’ Like ‘Magritte.’ It’s an emotional song – it’s evocative – but I really have no idea what it’s about. But I know it produces an emotional feeling. It’s nice. It’s a mystery.”

In her review of “In the Blue Light,” NPR’s Ann Powers notes a commonality among these songs is “a blend of melancholia and late-in-life wisdom spinning. Yet the album’s mood is not heavy. Simon, one suspects, is still less interested in making a sweeping statement than in that little whoop of inspiration, which he finds time and time again by trusting new collaborators to help him rebuild his stories until they gleam and go.” Simon wore that philosophy close to his heart throughout what was a most enjoyable “baby boomer” concert experience.

Paul Simon, Mark Stewart
and yMusic
Simon’s 15-piece band includes a couple of his long-time sidekicks, the multi-talented, mutton-chopped guitarist Mark Stewart and bassist Bakithi Kumalo, as well as the New York-based chamber pop ensemble yMusic. Among the band, there’s an instrumental arsenal and flexibility – a clay drum, a French horn, a button accordion, a piccolo, and a penny whistle – that add to the rich flavor of the sound.

In concert, I found a contemplative mood in the presentation of both Simon’s new and old material that slanted toward jazz and so-called “new music,” growing out of earlier versions of songs from the Graceland and Rhythm of the Saints years, such as “The Boy In the Bubble,” that blended Afro-pop, reggae and salsa back in the early ‘90s, when these albums were released. There were other genres and destinations visited, including Brazilian drumming and Mariachi horns, and the Cajun zydeco on “That Was Your Mother” remained timeless and joyful. A revisited “Questions For the Angels” pondered the significance of human life.

Throughout each of the twenty-six songs that Simon performed and interpreted, he maintained credibility while exuding a certain sense of playfulness by showing some zydeco-style dance steps.

At age 76, Simon still knows how to musically swing. He has always smartly arranged his lyrical compositions – there’s a New York-born poet’s sensibility to his writing  – and his voice can still carry the high notes of timeless tunes like “Bridge Over Troubled Water.”


The pacing of Simon’s show worked by weaving together the different ebbs and flows of his solo career with songs made famous during his collaboration with Art Garfunkel in the Sixties.

Earlier this year, Simon announced an end only to his touring, not from making music or from occasionally performing. Thank goodness for that, as his mind and sense of curiosity remains strong. While he has more hits than the time to play all of them, as one critic suggests, his songwriting continues to treat pop “as a force of inclusion and adaptation, learning constantly from different idioms and discovering where they can overlap or coalesce.”

Photos: Concert photos by Michael Dickens © 2018.

Tuesday, September 11, 2018

Nike: Doing the right thing is never a bad idea

Colin Kaepernick
Colin Kaepernick showed incredible courage and audacity to speak out against police brutality toward African-Americans when he took a knee during the national anthem two years ago while a member of the San Francisco 49ers. Others in the National Football League followed his lead. Sadly, it cost him his job as an NFL quarterback. He’s been blacklisted by league owners thanks to his silent-but-peaceful actions.

As an activist, Kaepernick’s is a respectful dialogue and one that refuses to lower himself to the low level of unrestrained invective shown by President Trump. His is an approach to dissent and public debate that is the antithesis of the president’s persistent bullying of black professional athletes, whom he is determined to punish for their outspokenness. Showing restraint and civility are not a strong suit of this sitting president.

Last week, in a simple, straightforward image of a black and white photograph of Kaepernick, with his mouth set and his eyes staring straight into the camera, the message “Believe in something, even if it means sacrificing everything,” spoke great volumes, as Nike’s 30th anniversary campaign for its iconic “Just Do It” slogan was revealed to much fanfare – and plenty of criticism.

In its first day, according to an MIT Sloan School of Management study, the Kaepernick Nike advertisement generated more than $43 million in media exposure.

“It’s hall-of-fame-level type advertising,” said MIT Sloan senior lecturer and research scientist Renée Gosline, whose research has focused on brand strength and social media storytelling. “Not to mention the signal it sends given the current climate.”

While some have protested the use of Kaepernick as the face of the famous American shoe and athletic apparel company, Nike’s sales have soared. Nike knew what it was doing – and its pockets are deep enough to withstand any short-term fallout.

As part of its “Just Do It” campaign, Nike also debuted a two-minute TV commercial, “Dream Crazy,” narrated by Kaepernick (who makes a cameo appearance), during the premiere of “NFL Thursday Night Football” last week. Within 24 hours, it had more than 5 million views on YouTube.

I applaud Kaepernick’s convictions. His courage will help move our world forward. I hope others will follow his lead and do the right thing.

One thing’s certain, doing the right thing – and to dream crazy – is never a bad idea.


Photo: Courtesy of Nike.com
Video: Courtesy of YouTube
Learn more about the MIT Sloan Management study: http://mitsloan.mit.edu/newsroom/articles/in-kaepernick-ads-nike-further-develops-its-brand-point-of-view/