CONVERSATIONS with Ed Tracy

Inspire. Educate. Entertain.

Conversations featuring authors and influential leaders in the arts, media and business.

JAMES EARL JONES II - THE SCOTTSBORO BOYS

Music, art and theater are healing devices, according to James Earl Jones II, the triple-threat performer currently playing in Porchlight Music Theatre’s production of Kander and Ebb’s The Scottsboro Boys. Diagnosed with Tourette’s Syndrome as a child, Jones early goal was to become a doctor. That plan changed and Jones received a scholarship to study opera at the University of Illinois Urbana-Campaign. Theater and dance followed, and a decade later, the multiple Jeff nominee has been at home on dozens of stages in a wide range of roles.

The impressive list of his Chicago and regional credits includes the title role in the world premiere of Carlyle and a superb turn in a featured role in Wonderful Town both at Goodman Theatre last season. He has also appeared in Sondheim on Sondheim at Porchlight, Dreamgirls and The Full Monty at Marriott Theatre and numerous other productions at Court Theatre, Chicago Shakespeare Theater, Writers Theatre, Lookinglass, Drury Lane, Northlight, Ravinia and Broadway in Chicago. His operatic credits include the Lyric Opera of Chicago, San Francisco Opera and in a national tour of The Gershwin’s Porgy and Bess. His television and film credits include Pokerhouse, Chicago Fire and Empire. His work has been recognized by the Black Theatre Alliance Awards and Black Excellence Awards. 

James Earl Jones II joined the Conversation on February 15th for a frank and open discussion about living with Tourette’s and how the musical of The Scottsboro Boys story helps to broaden our understanding of a very dark and tumultuous time in our history.

How his difficult birth may have changed his life … “I had a very traumatic birth which I believe caused me to have Tourette’s Syndrome. I was a preemie and I was breached. The doctors thought that my spine would snap … there was a lot of pressure at the base of my neck … They say that Tourette’s is a hereditary disease but seemingly no one else in my family had it … So, I thought to myself ‘well certainly things have to come from somewhere’ …  and being that Tourette’s is a neurological disorder ... extreme trauma to your spine and neck could do something like that, so that was my assumption.” 

Advice for coping with Tourette’s Syndrome ... “The arts, my career in the arts, has certainly helped me … and to know that even if you have things that are evident within your Tourette’s that other people can see … try to believe and truly understand that you are no different than anyone else. You are a regular – if there is – a regular human being that deserves the same amount of love, decency, consideration and respect as the next.”

On portraying an historical character in The Scottsboro Boys …  “Unlike other shows this is someone’s real life … and there is something about telling that story, honoring them, honoring their family … that is really significant and important … You want to be earnest and truthful and in that same vain, you want the audience to feel their highs and their lows, their joys and their pains … so it compels them to not just be moved in the moment but even to possibly leave the theater and want to learn more about that person.”

On Cynthia Clarey’s role as "The Lady" … “She speaks volumes without speaking.  She stands for nurturing, hope, and the future.” 

On truth and justice, then and now … “The truth … when people talk about ‘the truth will set you free’ … you hope that is the case, but it is not always the case … Pardoning all of these boys took almost a century even though they never raped those girls. I thing that speaks volumes of where people think we are versus where we really are.”

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SPECIAL VIDEO:
JAMES EARL JONES II & ENSEMBLE SING "GO BACK HOME"

Kander and Ebb’s The Scottsboro Boys, now playing at Stage 773 through March 12th, is based on the true story of nine black youths accused, convicted and imprisoned for crimes they did not commit. James Earl Jones II, in the role of Haywood Patterson, leads the company in Go Back Home. The brilliant ensemble performances of the Jeff recommended Porchlight Music Theatre production, all housed in the context of a minstrel show, combine to tell a stark and tragically compelling story of the boys harrowing journey of racial injustice.

Video & Photo Credit: Porchlight Music Theatre

TAMMY MCCANN - THE NEARNESS OF YOU

If you are looking for sweet conversation, that brings a sensation, you need look no further than our time with the extraordinary Tammy McCann. No surprise that McCann adores the Hoagy Carmichael-Ned Washington standard, Nearness of You. It happens to be her husband’s favorite.

Things might have been very different for McCann if she had pursued a classical music career. Following her heart, and the inspiration of jazz legends like Ramsey Lewis, Von Freeman and the immortal Ray Charles, all of whom she has performed with, McCann has established herself as one of our most gifted and talented jazz vocalists.

Internationally recognized and hailed by critics as a rich interpreter with extraordinary vocal technique, the musical journey of McCann’s concerts and stage appearances in Chicago, New York and beyond have put her in a class by herself.

Tammy McCann joined the conversation on February 7th fresh from a concert in Norway to talk about her upcoming appearances at Winter’s Jazz Club, the City Winery debut of Jeannie Tanner’s Words & Music, the 8th Annual Chi-Town Jazz Festival, and the most important part of her life, raising a young family in Chicago.

A mom’s perspective … “One of the things I always wanted to make sure was my children knew that they were the priority in my life … I had the opportunity to travel all over the world before I became a mom and now I see my career as a way to show my children the world and to see the world through their eyes.”

On Ann Hampton Callaway …“The only thing bigger than Anne’s talent is her heart. She is the most giving, warm, supportive individual that I have ever met in this business.”

Storytelling through song … “I think it is the pairing of the words and the music that creates a story. The music sets an emotional tone that then opens the door for the lyrics to take your hand and take you some place ... take you to a memory … take you to a dream … sometimes take you to a sadness … I feel strongly that we as vocalists are messengers, and I think it is important that you really think about what message you are going to share. It is not an arbitrary thing when people welcome you into their intimacy … When people say music is the soundtrack of their lives, that is a real thing.” 

Of all the love songs out there … “My favorite is my husband’s favorite … ‘Nearness of You.’ About when everything is washed away … There are no roses, no wine, no candlelight … The only thing that makes everything right is to have you by my side.”

Tammy McCann's Website
Buy the CD HERE

Winter's Jazz Club

 

THE BOOK OF JOSEPH - Q & A WITH RICHARD HOLLANDER

The Book of Joseph, by Karen Hartman based on the life of Joseph A. Hollander and his family, is directed by Chicago Shakespeare Theater’s Artistic Director Barbara Gaines. The world premiere event currently playing in Chicago through March 5th features a superb ensemble cast led by Sean Fortunato as Joseph Hollander, Francis Guinan as Richard Hollander and Adam Wesley Brown as Craig Hollander. The story centers on the discovery of one of the most complete archives of family correspondence during the Nazi occupation of Poland and is a window into how the family existed in the ghetto in Krakow. It is the journey of one man who attempts to change the course of his family history and reveals the importance of telling your story before it is too late.

Richard Hollander, who discovered the archive of his family letters in a suitcase following the death of his father, published the letters  in Every Day Lasts a Year(Cambridge University Press 2007). Mr. Hollander is president of Millbrook Communications, a marketing/advertising firm in Baltimore, Maryland and previously worked as a news reporter for two daily papers and for WBAL-TV in Baltimore.

We asked Mr. Hollander four questions following the opening weekend of the play:

CWET - The discovery of your family letters is a powerful turning point in your life story and must have been an equally powerful moment for you personally to relive in the staged play. It is through these events that we understand the importance of searching for truth and understanding. Tell us how the moment unfolded for you when you realized that a theater audience was now becoming part of, and witness to, your family’s story?

RH - There was a confluence of emotions. The experience was wrenching and exhilarating; humbling and joyous. I felt both vulnerable and proud. Obviously, it is an unimaginable experience to see one’s parent portrayed on stage as a hero. I am rather private and inherently uneasy about exposing myself and the family to the public. That said, there are several powerful themes in The Book of Joseph. Sharing them is a mission rather than a burden. Almost without exception, people who have read Every Day Lasts a Year or seen The Book of Joseph come up to me with their story – metaphorically speaking – their briefcase. That bond with the reader and audience is most gratifying.

CWET – Can you give us an overview of the process and interaction between you, your family and the playwright in putting this piece together?

RH- The creative process is very different given the fact that The Book of Joseph is based on real people, actual events, and the very words of the characters.  For want of a better phrase, the play could be called a docu-drama. Playwright Karen Hartman conducted extensive interviews with me; my wife, Ellen; my son, Craig; and Arnold Spitzman and his family. I am sure she researched Krakow, Poland and the Holocaust. The immigration story came out of court records and transcripts of hearings. While writing a play is challenging under any circumstance, this was far more difficult. Karen had to create art from reality. 

CWET – Your “role” as storyteller is essential to the arc of the play. What areas in its telling were particularly important to you? 

RH - By training (grad school locally at Northwestern) and trade, I am a storyteller. Much of my career was as a print and TV journalist. So, in reality that “role” comes easily to me. I see my character in the play having two distinct roles. One is the personal journey of literally and figuratively opening the briefcase. The second role is leading the audience on its own journey as they relate to what unfolds on stage. I believe it is most important that the storyteller does not make the value judgments for the audience. For example, as a journalist, I am much more comfortable presenting the facts, as in the immigration story, and give each person in the theater his or her freedom to determine whether it relates to contemporary America.

CWET - A key element of The Book of Joseph is understanding the relationship of generations of family members, their stories and how they are told. How you collaborated with your son and found common ground is also a major theme in story. What do you say to people who ask for advice in bringing their family members together to tell their own story?

RH - The obvious answer is don’t wait until one can no longer ask the questions. The Book of Joseph is about family secrets – with a different twist. No one was hiding an ugly family secret. Joseph and Richard were trying to protect each other out of an abundance of love. They created a boundary so that neither would inflict emotional pain on the other. My guess is many, if not most, families erect boundaries. To me, one of the enduring themes is family legacy, which is depicted in the father/son; Richard/Craig relationship. We give our children and grandchildren our memories and our values. Ultimately, Richard and Craig share a legacy. 

THE BOOK OF JOSEPH
Chicago Shakespeare Theater
Navy Pier
Now playing through March 5th
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ANGELA INGERSOLL - BEYOND THE RAINBOW

If you have been fortunate to see Angela Ingersoll recently on stage or in concert, you already know what the big buzz is about. She is smart, sassy, sexy, and above all, a natural born talent.

Ingersoll’s critically acclaimed performance as Judy Garland in the recent Porchlight Music Theatre production of End of the Rainbow channeled every ounce of her powerhouse talent to elevate our imagination and richly stir our compassion for the fragile and falling star. It was all there – electrifying stage performances, manic vitality, childlike enthusiasm and reckless abandon – all seeming to unfold effortlessly in the moment in Ingersoll’s unforgettable performance.

Her theatre resume is impressive spanning dozens of stage appearances with Marriott Theatre, Indiana Repertory Theatre, Chicago Shakespeare Theater, Drury Lane, Madison Rep, Playhouse on the Square and others. She has appeared with Second City Hollywood and on television in Chicago PD. No stranger to the Garland songbook, Ingersoll continues to perform concert versions of her one-woman Judy Garland show with the Artists Lounge Live concert series produced by her actor/singer husband, Michael Ingersoll.

Angela joined the conversation on February 1st to discuss the run with Judy, what’s happening next for her live concert career and how she met and fell for the special ‘Jersey Boy’ in her life.

On which Judy Garland song brings her most joy … “It’s an impossible question … Of course, ‘Rainbow’. It’s arguably one of the best pop songs ever written.  It so perfectly captures the human experience both musically and lyrically ….  ‘Man Who Got Away’ is the most comfortable … feels like home … it sits right in my body and I have worn the grooves of that record on my throat the longest. I love singing ‘Stormy Weather’ … it really is very important to me … my favorite moment of Carnegie hall … one I have recently taken on is ‘Rock-a-Bye Your Baby’ . I stayed away from it for a few years because I was intimidated … it was maybe her favorite … it is so sexy!”

On her relationship with Judy Garland … “I like being old Judy, I’m not a young Judy. I’m an old Judy. … I never really put her on the shelf or put her away. She has been a part of my life my entire life and continues to be. It is just more public now.”

On sharing the human experience in Artists Lounge Live shows …“We find an artist who is so influenced by an icon that they seem to be the torchbearer for that person’s legacy going forward and there is a real intimacy in the storytelling. It is about the storytelling … the very human aspects of the person’s life.”

Connecting with Judy beyond the music … “One of the most important parallels is she had a very strained relationship with her mother and I have had a complicated relationship emotionally with my mother … So many of her emotional scars were handed down to me … not by her own fault … Inheriting a lot of her pain has informed me a lot … It is my window into the kind of pain with which Judy lived.”

What’s ahead … “Judy’s centennial is coming up in 2022. In 2021, we will have the 60th anniversary of Carnegie Hall. I am working toward having relationships with orchestras … so I can be the foremost person doing this in the world, quite honestly. I know that is a lofty thing to say but ‘we gotta dream somewhere’ and I am trying not to censor myself.”

PODCAST
WEBSITE

WATCH PERFORMANCES OF ANGELA INGERSOLL
Over The Rainbow
Come Rain Or Come Shine
The Man That Got Away

Angela Ingersoll Performance Photo Credit: Amy Boyle Photography
Materials Courtesy: Artists Lounge Live

DE USURIS - ANGELA INGERSOLL, TAMMY MCCANN AND THE NICHOLAS BROTHERS

There are emotional turns everywhere you go this weekend. Previews begin February 11th for Black Ensemble Theater's world premiere of My Brother's Keeper - The Story of the Nicholas Brothers. Running now are Goodman Theatre's Gloria, Chicago Shakespeare's The Book of Joseph, Porchlight Music Theatre's The Scottsboro Boys. Joeffrey Ballet presents Game Changers beginning February 15th ... The big voices of Tammy McCann, Rose Colella and Evan Tyrone Martin are not to be missed.  And, you can make it an early date for Valentine's Day on Sunday at Shaw's Weekend Brunch, then take in the magical closing performance of The Rosenkranz Mysteries at the Royal George. Cheers!

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ROBERT SIMS - PASSING THE TORCH

ROBERT SIMS, the classically trained lyric baritone who has performed for decades in prestigious venues around the world, evokes the passion and presence of Paul Robeson, Roland Hayes and others before him with every song he sings. His music, which comes from a rich and soulful place that most of us can only imagine, and the spiritual concerts that are his trademark, are keeping the archive of African American spirituals alive for future generations. 

Sims has performed at Carnegie Hall and Lincoln Center, in concert with the Mormon Tabernacle Choir and the Gilbrator Philarmonic, among many others, and has had a long and distinguished operatic career.  He toured nationally in the ensemble Three Generations, a celebration of American spirituals and folk songs with George Shirley, the late William Warfield and Benjamin Matthews.

High in demand as a performer and vocal coach, Sims has recorded numerous CD’s and collaborated on the recent biography Roland Hayes: The Legacy of an American Tenor with Christopher A. Brooks.

Robert Sims joined the conversation on January 27th following a concert appearance in Detroit to talk about how his career was influenced by Robeson and Hayes and the challenges they faced breaking down barriers. 

Robert on the legacy of “Ol’ Man River” …

“It was considered Paul Robeson’s song and Bill Warfield’s song … and I’ll tell you how I started singing it. We were giving a concert in Philadelphia. On the morning of the concert Warfield had a heart attack … Three Generations went on as a duo (with Matthews) … and I sang ‘Ol’ Man River’ from William Warfield’s score from the movie. Then I started singing ‘Ol’ Man River.’  It means something different every time … [Bill] said he remembered singing it after Martin Luther King Jr. was assassinated … and the meaning then was like the river, we are going to keep flowing and keep fighting for civil rights ... Paul Robeson turned the song into a song of protest … Sometimes I think of it the way Paul Robeson thought of it … sometimes it is a song about the river flowing … how life continues to flow.”

On celebrating the history of spirituals …

“We do not tend to celebrate it in that … Out of this ugly experience came a music that has influenced the world. If I was in Japan right now, I would hear R&B, rock ‘n’ roll, jazz … all of that came from our contributions to music. There are some African Americans who are ashamed ... ‘We have new music!’ ... there is nothing new … they didn’t invent this.”

On the power of music …  
 
“This is a very, very interesting time, but music heals. It stirs something up in the soul … And I think it is something that is needed now more so than ever … I am sure there will be some recycled folk songs, freedom songs, and civil rights songs that will come out of this time. Probably some songs about love and unity ... It is going to be very interesting to look back at this time in America and see what came out of this experience.”

On inspiring future generations … 

“The voice is something so interesting because it is an instrument that is not outside of ourselves … One has to feel good about themselves … one has to feel that they can get up in front of people and present and that they are worth it … one has to feel that they have something to say … I am finding more than anything there is healing I have to do … to tell my students that they can do this. Then, when I get past that, I can say, ‘Now do it with joy.’”

CONVERSATION PODCAST
ROBERT SIMS  WEBSITE 
VIDEO PERFORMANCE  Ol' Man River

ROBERT SIMS FEATURE PERFORMANCES (AUDIO)
Lit'l Boy
Wait 'Til I Put On My Crown

CONVERSATIONS ARCHIVE

THE NICHOLAS BROTHERS "TAKE WINGS" AT BLACK ENSEMBLE THEATER

You probably know what “Break a Leg!” means to an actor, but what do you say to a dancer? If you are Rueben D. Echoles and Rashawn Thompson, who are portraying the legendary Nicholas Brothers on stage in Chicago next month, it’s “Take Wings!”.

They are headlining the highly-anticipated opening production of Jackie Taylor's Black Ensemble Theater’s 41st Season with My Brothers Keeper - The Story of The Nicholas Brothers. Written, directed, choreographed and starring Echoles as the younger Harold Nicholas with Thompson as Fayard Nicholas, the production has BE’s cultural center jump jivin’ night and day with a cast of 16 and the Black Ensemble Orchestra under the direction of Robert Reddrick.

They have been called the greatest tap dancers who ever lived and the most beloved dance team in the history of entertainment. Born seven years apart into a performing family, the brothers had front row seats to the talents of the great black Vaudeville acts of the day. A ground-breaking appearance at the Cotton Club in 1932, when the brothers were only teenagers, led to Hollywood a few years later and then to Broadway in the 1936 Ziegfield Follies. They would go on to headline in venues all over the world, in films and on television for over six decades.

During a break from rehearsals, we joined Rueben Echoles and Rashawn Thompson to talk about the creation and development of the show and what it is like to fill the shoes of these legendary entertainers.

Reuben on advancing the Black Ensemble Theater’s mission …
"We will eradicate racism by letting us all know that we have common things that bring us together, music is one of those things … And we are celebrating the greatness of who we are. When we are proud of who we are, other people can look at us and say the same and respect who we are.”

Reuben on the Nicholas Brothers dance style …
“In terms of choreography no one can duplicate what the Nicholas Brothers did. So, what I do is I watch carefully and then I use accents of the things that will remind people of the videos. We do a lot of tricks that they did but not as many. If they jump down ten stairs, we will jump down four because no one has been able to duplicate what they have done since then. And I just don’t think I want to risk it.”

Rashawn on the importance of the Black Ensemble Theater’s Education Program …
"I had a tough life growing up. When I came to the theatre it gave me a chance to speak my mind. It gave me a chance to talk and be heard because I felt I was not heard a lot as a child. In the theater, I was able to be as big as I want to be and everybody’s listening … I know that with me being a mentor … there’s a lot of kids like me … how I was … and I see it and pay attention to them. I understand how to work them through it … try to make it a little easier than it was for me.”

“Break a Leg!” or ...
Reuben: “We say “Take Wings!” because we literally need to fly on that stage.”
 

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CONVERSATIONS WITH MEDAL OF HONOR RECIPIENT TOM HUDNER

TOM HUDNER received the Medal of Honor for his actions in an attempt to save the life of his African American wingman Jesse Brown who had crash landed his plane on a desolate mountaintop during the Korean War.

I am posting, for the first time, a transcript of a taped interview about Tom Hudner's reflections on the action and Jesse Brown. The interview took place in Denver in 2007. As an introduction, I have included a brief overview of a conversation we had on the phone a few years ago.

A truly remarkable man.

TOM HUDNER

On March 29, 2014, I called and spoke to Tom Hudner. It was not a formal interview as we had had many of those in years past. He was, as always, soft-spoken, upbeat and engaging. Among the topics discussed was the Medal of Honor Society sponsored Leadership Development Program which has been expanding to schools across the country. Tom was particularly proud of the initiative that brings recipients of the Medal of Honor into schools through personal visits and internet programs.

Tom Hudner, a Korean War veteran, was the first recipient, by date, to receive the MOH after World War II. He remembers at an early inauguration, a duty officer only allowed him one ticket because his guest was not his wife. He said that only happened once and, thereafter, all recipients were invited to the Presidential Inauguration, but had to pay their own way.  (The number of living recipients then was perhaps five times greater than the current number of 76 living recipients.)

According to Tom, times have changed significantly. The recipients have been treated with extraordinary respect as they move from city to city for their annual conventions. The last major convention in Chicago was held in 2009 and attended by over 50 heroes.

Tom talked about serving on the policy development committees in the early days of the Medal of Honor Society which was formed in 1958. He has high regard for recent recipients like Sal Giunta, who he had a kinship with since, the oldest recipients he knew at the time had fought in World War I.

2007 CONVERSATION with Medal of Honor Recipient Tom Hudner– Denver, Colorado (This transcript has been edited for length and clarity.)

TOM HUDNER ON JESSE BROWN
FIRST IMPRESSIONS

Ed Tracy: Tell me about your first impressions of Jesse Brown… when you met. Describe who he was, what he was and some of the aspects of what he faced… the struggles he faced and the challenges he overcame.

Tom Hudner: I got my wings in August of 1949 and my first orders were to the Naval Air Station on Long Island. Shortly after I got there, the squadron I joined was decommissioned and I went to another squadron at the same station. It was only when I got my orders to this other squadron did I even hear of Jesse Brown. He had gotten his wings a year before I did but I didn’t know that there were any black naval aviators. When I arrived in the squadron, nothing was said even at that time that Jesse was in the squadron. So, it was a day or two after I got there when I was in the locker room getting ready for a flight when Jesse came in. I wasn’t startled, but I was a little bit surprised. He was very quiet. He just introduced himself. “I’m Jess Brown.”  Very low key. We had a few words that I really don’t remember and then I went out to the flight.

Of course, as in squadron life, we’d see each other on a daily basis. It was obvious from the very beginning that he was very well liked by everybody, but there was no deference in any way. He was just one of the guys. No thought whatsoever that he was black.

ET: Would you describe him?

TH: Well, as I remember he was probably about five ten or five eleven. Slender fellow. He was a track man so he looked like a sprinter. With a ready smile. He had a great sense of humor. He was the butt of a lot of jokes, and he joked about a lot of other people, too. I wouldn’t say that he was anybody special in the squadron except that not everybody was proud of the fact that he was there. Frankly, what made it better was he was a helluva good guy.

He was an ensign. He’d been an ensign for… I don’t think he’d been an ensign for a full year, so he was one of the lowest seniority guys in the squadron.  He was given the responsibilities of a young officer in his position… as the Navy emphasized, you did small jobs to increasing responsibility as time and rank goes on. He didn’t get his work done on a number of times, no more than anybody else, so the squadron CO would have to kick his butt to get his paperwork done and things like that. But he didn’t experience anything that the rest of us didn’t experience.

DATING AND MARRIAGE

TH: How long he was dating his future wife, Daisy, I don’t know, but apparently they had been dating quite a bit. So, when he got into the flight program, he got in as a non-officer and the Navy would not take married non-officers. As an officer, you could go through the program married. But, as a non-officer, you couldn’t.

He ran into the typical problems that blacks faced at the time. Being down there in the south, especially Pensacola, no matter where he turned, he was given a hard time by people. The fact that he was a Naval aviation cadet didn’t deter a lot of these people from saying anything. He experienced harassment a number of times while in uniform by shore patrol and others. 

The flight program was demanding. He started in 1947, got his wings in 1948. There was a lot of pressure on students at that time.

I don’t think his girlfriend, who came from Hattiesburg, could afford to come and see him at all. Whenever he had leave and did have a chance he drove back from Penscaola to Hattiesburg to see her. I don’t know how long a drive that would be but not too much effort.

He was under so much pressure. He finally married Daisy while he was in the training program, which was very definitely against regulations. But she, of course, gave him much comfort and solace. I’m sure that he attributed being with her as an anchor.

Jesse and I were not very close. He was an Ensign and I was a LTJG. At that time, there was a big difference between an Ensign and everybody else. He had very good friends who were my rank and were true friends. The difference, though considered minor, was a big one at the time.

Also, I was Naval Academy and had several Naval Academy friends before coming in there and these other fellows, they were our friends too, but I gravitated toward those I knew before. So, that is why I didn’t see Jesse more than I did. Plus, the fact that I was a bachelor and a couple of these friends were bachelors, too. We just didn’t mix at all.

ON THE MOUNTAIN

ET: Take us through Jesse’s crash and what you saw from above.

TH: In those days, for all takeoffs and landings your canopy was open. The canopy would slide back and forth on rails. When it was open, there was a little latch that would flip over onto the track. So, if you made a sudden stop, it would keep the canopy from going forward.

When he landed and the canopy was open, I presumed he had latched it open… it latches open automatically. But he hit with such force, that the canopy shut. So, we couldn’t see him in the cockpit. As soon as this happened, the flight commander left us to climb to a higher altitude, because this is a mountainous terrain… and to call for assistance presumably from the Marines because they were known to have helicopters in the area. So, several of us… three or four, so some other aircraft from other flights, came over for curiosity or however they could help.

Then someone said, “He’s waving at us.” Jess had managed to open the canopy… and we could see him. He was waving at us to let us know that he was alive. The flight commander came back on our frequency and said that helicopters were on the way. I don’t know when it was said, but it would be as long as a half an hour before they could be there. In the meantime, smoke was coming out of the cowling back along the fuselage. That’s when I thought by the time he gets here the smoke could turn into flames.

Our flight leader was still not on our channel, so I don’t think I even called for permission to go in. I just… when the time came, I just said “I’m going in.”

ET: He wouldn’t have given you permission to go in anyway…

TH: No.

ET: Was there any buzz on the radio after you made the decision to go in?

TH: I don’t remember any comments on the radio. There may have been some, but I don’t remember any. It was not at all negative on the frequency. I don’t know how many were on at the time, but no one said “Don’t do it.”  So, I’ve always said, no one told me not to.

AT THE CRASH SITE

ET: So Jesse is out of his gloves and parachute. He has been trying to get out of the cockpit on his own. His hands are frozen. What are the conditions?

TH: There is about twenty inches of snow on the ground. Not constant, but it was knee high. The weather was clear. I don’t remember there being much wind at all but it was cold.

I had a blue knit cap that sailors wear. They call them Watch caps. I used to carry one of those in my flight suit in case I got stuck. He had taken his helmet off and that was on the floor of the cockpit. So, I pulled the watch cap over his head and I had a white Navy scarf and wrapped that around his hands but it didn’t do much good since his hands were so frozen.

The fire subsided. Hydraulic fluid or possible oil dripped on the hot pipes and plumbing that went up through into that part of the airplane. It diminished as time went on. There was almost no wind, but what wind there was blowing the smoke back up the fuselage but not into the cockpit. I was waiting for the helicopter. Frankly, for lack of anything better to do, I was throwing snow on the fuselage, under the cowling, which did almost no good.

ET: Do you recall Jesse saying anything about Daisy at this time?

TH: One of the few things he said to me… he just said, “If anything happens to me, just tell Daisy how much I love her.” There was no time for small talk, so we didn’t talk.

ET: How soon did the helicopter come?

TH: It was about a half an hour. The helicopter pilot got the word that there was a plane down. The helicopter was an Sikorsky H03. There are pictures of them. One of the smallest. Not a bubble canopy, but spheroid. A lot of glass or plastic in the front of it. Maximum capacity was 3: pilot, copilot and crewman. The pilot took off with a crewman to help get Jesse out of the cockpit. When he heard afterwards that there were two of us on the ground, he had to turn around and go back and let the crewmen off. He was going in there all by himself. He didn’t know what the circumstances were. The planes went down is about all he knew.

ET: So, that trip back took even more time for him to get there.

TH: Oh yes. That had to add at least fifteen minutes to it. I don’t know if I told you this, but when we left Norfolk, VA on the way over to Korea, the day we got underway, we went up on deck, there are six helicopters there with a Marine detachment , so there were 10 pilots and supportive enlisted personnel. We took them all to Korea from there which was the better part of two weeks.  We left the first of September and didn’t have our first flight until the 10th of October.

These Marines were riders. They couldn’t fly well and ward room. When you go through several time zones no one can sleep. We still had our work to do but these guys didn’t… what I’m leading up to is that after being on the ship for the better part of a month, the rescue pilot came and saw the only black face in naval aviation in the cockpit. I don’t recall if he said anything to Jesse. Jesse was comatose at the time. In and out of consciousness. He was very calm, but we think that he was in shock. I sometimes wonder how he could have been talking at all.

ET: Was he saying anything that made sense?

TH: I don’t remember that he did. There was so little conversation between the two of us. I didn’t spend much time in the cockpit. It was difficult. Very hard to get up there. I went back to my plane to give a status report. My radio was still working. Some said I shouldn’t have turned it off but I conserved the batteries so the radio would work longer.

ET: Were there enemy patrols in the area?

TH: I am told by some who were flying in the area that there were, but they were not close and I saw no evidence except a single set of footprints… tracks in the snow. The snow and getting up a couple of times to check on Jessie is all that I did. I was just trying to encourage him to stay long enough to help Jessie. Jessie said virtually nothing while Charlie and I were trying to figure out what to do… in the back of our minds, I think, knowing there is nothing we can do.

ET: Once the axe comes out… you can’t chop steel with an axe.

TH: Charlie was naïve just asking for an axe.

ET: So, at one point Charlie looks at you and says, “Tom it’s getting dark.”

TH: Charlie turns to me and says, “Tom, it’s getting dark and I can’t fly… I don’t have the instruments to fly at night. I’m going. It’s up to you what you want to do, but I’ve got to get outta here.” It wasn’t a matter of being chicken or anything… it was just the reality. Frankly, Jesse may have been dead at the time he said it. I said we don’t have the equipment to get you out of here. We’re going back to get something. I don’t know… he didn’t say anything but I don’t know if he even heard what I said to him. My only hope is that…looking back on it, that he knew he wasn’t alone at the time he passed. No matter what the circumstances, we don’t want to be alone at that time.

ET: I know how difficult this is to bring back. I cannot tell you how much I appreciate the time you’ve spent today talking about this.

TH: Jess got his wings just about the time that President Truman issued the executive order to desegregate the Armed Services. The Navy had the reputation of being the most segregated due to the particular nature of the Navy. The posts aboard ship. Not being able to get away. He came into the Navy on active duty as an officer into a recently desegregated Navy. Just because of the proclamation, the Executive Order, didn’t mean that anybody felt any differently about it  It isn’t that he ran around the ship and said “…because of this executive order you have to treat me differently.” He wasn’t that way at all.

Jesse was somebody that showed right from the day we met his reticence to force himself… or break anybody’s personal zone. He didn’t even offer to shake hands at first.  He didn’t want anybody to say that they didn’t want to shake hands with him. He was very respectful. He didn’t have any attitude, hauntiness, subservience. He was just one of the guys. Just from his attitude again, everybody did truly like him.

I ran into people years later who were in the squadron before I got there who spoke very admiringly of Jesse. It was pretty obvious that if he had stayed in the Navy, which I do not believe were his intentions, he’d have been a leader. Whether he would have been the first black Admiral, I don’t know.

He was a decent person. He could have been a son-of-a-bitch to the stewards and the others, but he wasn’t. The stewards hovered around him which is a very natural reaction. I don’t think he went out of his way… never got friendly with enlisted personnel. He was an officer.

Although Jesse was only an Ensign, because of his breaking through this big, big barrier to become a Navy aviator, he was really a role model. Everyone respected him and he was certainly headed for better things. He was accepted at Ohio State University. After he served his time, his intentions were to become an engineer or maybe even an architect. Whatever, he’d have done, he would have been fine.  

ET: When you returned, what was the mood back on the ship knowing that Jess was gone?

TH: There was a big void. He wasn’t just one of the guys who happened to fit in. He’s the type of guy, not to dramatize it, but lights would shine when Jesse came in. He was not a back slapper either. He’d come in unobtrusively. He’d play acey deucey with a lot of the guys. He was well liked.

Before we deployed, he had a hard time as a new Naval aviator with a new wife. He couldn’t find any housing. I’m guessing that he looked up to fifteen miles away for a house or room to rent and everyone said just missed it or too late. There was a black enlisted man pay officer who somewhat befriended him. He found a place for him near Providence. So, it was not just a few miles off the base. He had to go that far up. In the non- segregated New England. Think about what it would have been anywhere in the South.

But he was philosophical about it. A lot of the new squadron mates were helpful to him, but there was a limit to what they could do, too.

I was always a little disappointed that the Navy didn’t make more of Jesse Brown. There was such an emphasis on bringing blacks in. If Jesse had been just an ordinary guy who got caught in something, but he was a guy at a very low level rank wise who was an inspiration, not only to the other blacks but everyone who knew about him. But, they didn’t do more about it.

Throughout my career, I always heard about the Tuskegee Airmen, but I learned that there were more than one Tuskegee Airmen and Jesse was just one guy.  As I met some of them, they had never heard of Jesse Brown.

I think the word is getting around. Part of the heritage of the naval aviators is the story of Jesse Brown.

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