Blood Isn't Just Red

-- Richmond Times-Dispatch 1999

Television has dominated the American cultural landscape for the past 50 years. A boon to modern life in many ways, television is nonetheless transmitting an endless stream of cruel and bloody images into everyone’s head.

However, if you’re still waiting for absolute proof that a steady diet of video violence can be harmful to the viewer, forget it. We’ll all be dead before such a thing can be proven. This is a common sense call that can and should be made without benefit of dueling experts. Short of blinding denial, any serious person can see that the influence television has on young minds is among the factors playing a role in the crime statistics.

How significant that role has been/is can be debated.

Please don’t get me wrong. I’m as dedicated to protecting freedom of speech as the next guy. So perish the thought that I’m calling for the government to regulate violence on television. It’s not a matter of preventing a particular scene, or act, from being aired. The problem is that the flow of virtual mayhem is constant.

Eventually splattered blood becomes ambient: just another option for the art director.

My angle here is that in the marketplace of ideas, the repeated image has a decided advantage. The significance of repetition in advertising was taught to me over 25 years ago by a man named Lee Jackoway. He was a master salesman, veteran broadcaster, and my boss at WRNL-AM. And, like many in the advertising business, he enjoyed holding court and telling
war stories.

He had found me struggling with the writing of some copy for a radio commercial. At the time he asked me a few questions and let it go. But later, in front of a group of salesmen and disc jockeys, Jackoway explained to his audience what I was doing was wrong. Basically, he said that instead of stretching to write good copy, the real effort should be focused on selling the client more time, so the ad spot would get additional exposure.

Essentially, Jackoway told us to forget about trying to be the next Stan Freeberg. Forget about cute copy and far-flung schemes. What matters is results. If you know the target audience and you have the right vehicle to reach it, then all you have to do is saturate that audience. If you hit that target often enough, the results are money in the bank.

Jackoway told us most of the large money spent on production went to satisfying the ego of the client, or to promoting the ad agency’s creativity. While he might have oversimplified the way ad biz works to make his point, my experience with media has brought me to the same bottom line: When all else fails, saturation works.

Take it from me, dear reader, it doesn’t matter how much you think you’re ignoring the commercials that are beamed your way; more often than not repetition bores the message into your head. Ask the average self-absorbed consumer why he chooses a particular motor oil or breakfast cereal, and chances are he’ll claim the thousands of commercials he paid no heed had nothing to do with his choices.

Meanwhile, good old Lee Jackoway knows that same chump is pouring Pennzoil on his Frosted Flakes because he has been influenced by aggressive advertising all day long, every day.

OK, if repetition works so well in television’s advertising, why would repetition fail to sell whatever messages stem from the rest of its fare? When you consider all the murders, all the rapes, all the malevolence that television dishes out 24 hours a day, it adds up. It has to.

What to do?

I have to believe that if the sponsors of the worst, most pointless violent programs felt the sting of a boycott from time to time, they would react. Check your history; boycotts work.

It’s not as though advertisers are intrinsically evil. No, they are merely trying to reach their target audience as cheaply as possible. The company that produces a commercial has no real interest in pickling your child’s brain with violence; it just wants to reach the kid with a promotional message.

If enough consumers eschew worthless programs and stop buying the products that sponsor them, the advertiser will change its strategy. It really is that simple.

As we all know: A day passes whether anything is accomplished or not. Well, parents, a childhood passes, too, whether anything of value is learned or not.

Maybe television is blocking your child off from a lesson that needs to be learned firsthand -- in the real world where blood isn’t just red, it’s wet.

-- 30 --

All rights reserved by F.T. Rea
776 words

It Paid to Advertise

-- SLANTblog 2006

When the doorway into show business suddenly opened for me I entered gladly. At the time I had a job selling janitorial supplies that I wanted to quit. As I wanted to be a writer and eventually make films, working in a beer joint seemed like a step in that direction.

So, the sales job was cast off when a friend, Fred Awad, offered me work at the restaurant he was operating. My coming aboard as a bartender/manager was part of a larger plan we had cooked up to convert what was then a typical Fan District blue collar neighborhood restaurant/dive into the area’s most happening club.

The restaurant belonged to my friend’s parents, who wanted to retire. They had recently turned it over to their sons, Fred and Howard. The brothers promptly changed the name of place at Allison and West Broad St. from Moroconi's to the Bearded Brothers.

Growing beards was easy, but the Awad boys couldn’t agree on how to run the business, so the younger brother, Howard, left to pursue the quest of opening a place of his own.

Fred and I were convinced the burgeoning baby boomer bar crowd in the Fan District needed a place to enjoy cold beer, hot food, live music, a psychedelic light show and the edgy spectacle of go-go girls dancing topless. At this time, late-1969, topless dancing was going on in other states, even in Roanoke, but it had yet to come to Richmond.

And, speaking of booming babies, Fred’s wife was seven months pregnant; my wife was six months along.
With the help of a few friends it took us a couple of weeks, or so, to paint the interior flat black, build the stage and light show apparatus for the bands and dancers. We also painted the front window panes that faced Broad Street in Dayglo colors and put in black lights.

Believe it or not, although everything we did was as derivative and current as could be in other towns, in Richmond all that stuff played as ahead of the curve. I don’t know about Fred‘s thinking, but my ideas were coming mostly from clubs in Georgetown, movies and magazines.

The rock ‘n’ roll bands went over well and brought in a fresh crowd right away. A local group calling itself Natural Wildlife quickly became a regular attraction. Then it came time to hire the go-go dancers. So we put up a help wanted sign in the restaurant.

A few young women came in asking about the dancing job. Eventually, we settled on two. One of them had some experience, the other didn’t. But only the girl new to the exhibitionism trade could be there for our first night, which we advertised in the local newspaper. I did the ad art; it featured a pen-and-ink rendered silhouette of a female dancer and a Bearded Brothers logo I had designed.

By 8 p.m. the place was packed, wall-to-wall. We were selling beer like never before. Presto! We had become successful nightlife promoters overnight. The only problem was that our featured dancer with her brand new costume, which included tasseled pasties to cover her nipples (ABC Board regulation?), was scary late. She hadn’t called, either.

With the crowd clamoring for the dancing aspect of the show to get underway, Fred and I tried to think of any women we might be able to talk into filling in.

As I opened a handful of bottled beers, a woman wearing shades waved to get my attention. She was chewing gum. The joint was so noisy I could barely hear her. Setting her suitcase down, in a thick Brooklyn accent, she asked, “Could you use another dancer?”

Trying to hide my glee, I called Fred over. He offered her a fast $50 to alternate sets with the other girl as the band played. She told us she had noticed the ad in a discarded newspaper on the counter of the Greyhound bus station’s coffee shop. That night’s experience gave me new faith in the power of advertising.

The Greyhound Girl even had her costume with her. She got her money in advance. Fred suggested that since the other dancer was running late, she could go on as soon as she could get ready.

Well, it all went over like gangbusters. Up on stage, with the lights and music, she danced like the pro she actually was — she had been working along the same lines in Baltimore and appeared to be a trained modern dancer. Natural Wildlife never sounded better. The beer taps stayed open.

After the dancer’s first set was over, she put on a robe and found me behind the bar serving beer. She laughed, “There ain’t no other girl, is there?”

I paused to shrug and returned her smile, “I don’t know where she is.”

“I’ll need a hundred bucks to go back up there,” she said firmly.

The money was put in her hand without hesitation. Hey, she knew she had rescued the night. Yes, a hundred and fifty was a lot of money, then, but there was no use in quibbling. After that night we never saw her again.

Other women were hired, pronto. The show went on but we were never as busy as that first night again. It became my duty to paint the dancers with Dayglo paint. They'd have vines curling around their arms and legs, stars and stripes on their torsos, etc. But after a few weeks of that, it seemed most of the customers didn't care much about the artsy aspects of topless dancing, such as they were. They preferred bare skin. So, the body painting stopped.

Although painting the dancers was a pleasant enough task, hanging out after work was the best perk of the job, which wasn't always paying as much as I needed to make. Frequently friends/musicians stayed around late, jamming, playing pinball games and smoking pot.

The most notable of the musicians who passed through was Bruce Springsteen, whose band Steel Mill often played in Richmond then. He was a quiet guy who didn’t stand out as much then as he would later.

For a few months the Bearded Brothers scene was quite lively, then it began to dissipate. Other clubs opened up offering live music, some of which were closer to VCU. Gradually, the restaurant began to drift back toward being what it had been before it had been painted black.

In the spring I had to look for a real job again. Fred left, too, and his mother took the place back over. About a year later Howard Awad opened up Hababas on the 900 block of W. Grace St., where he had a lot of fun making large money (1971-84) serving cold beer and playing canned music on his popular bar’s monster sized stereo.

The topless go-go girl thing soon morphed into a form of entertainment aimed at an entirely different type of crowd. Truth be told, I've never had much interest in the places that feature topless dancing since the time of the Bearded Brothers.

A year later I got a job at WRNL, a radio station then owned by Richmond Newspapers. Once again I learned it paid to advertise. The only souvenirs I have from my first stint in Show Biz are a few black and white photographs not unlike the one of the front windows above.

-- 30 --

All rights reserved by F.T. Rea
1,238 words

How Free Are We to Express hate?

The Westboro Baptist Church stretches the word “church” into a shape that boggles the mind. It is best known for force-feeding its messages about hate into situations in which they are particularly offensive. According to the Westboro gospel, the list of people that God hates includes Jews, Catholics, Muslims, atheists and gays.

In 1955 Westboro’s founder was Fred W. Phelps; at this writing he is still the pastor of the independent church based in Topeka, Kansas. According to reports most of the church’s 70-or-so members are related to Phelps.

Members of Westboro‘s congregation were in Richmond on Mar. 2, carrying their distinctive signs about God’s hates. Since then Westboro has been in local news stories, because Virginia Attorney General Ken Cuccinelli decided against supporting a lawsuit against Westboro that was filed in Maryland by Albert Snyder.

In 2006 Snyder’s son was killed in Iraq. A Westboro contingent armed with fire and brimstone placards demonstrated outside the church at the funeral. Snyder sued Phelps for invading his privacy. Snyder prevailed and was awarded $5 million for the emotional distress he had endured.

In 2009 the 4th U.S. Circuit Court of Appeals in Richmond reversed the decision, saying it violated the First Amendment’s freedom of speech protections. Furthermore, it ordered Snyder to pay Westboro’s court costs of more than $16,000. In October the U.S. Supreme Court will hear Snyder’s appeal.

Cuccinelli apparently agrees with the 4th Circuit’s decision, his office cited a concern about curtailing “valid exercises of free speech,” as its reason for choosing to make Virginia just one of two states not to file a supporting amicus brief.

Westboro grabbed the national spotlight in 1998 when some of its members appeared at the Wyoming funeral of Matthew Shepard, a 21-year-old man who had been brutally murdered. The Phelps contingent brandished signs announcing that because he was gay Shepard was burning in hell.

Since then Westboro has routinely targeted military funerals, to inform grieving families that their lost loved one deserves an eternity in hell. Why? Because the deceased had died serving a nation that enables homosexuality.

When the Westboro group came to Richmond three months ago Hermitage High School, the Virginia Holocaust Museum and the Weinstein Jewish Community Center were among its targets. At each location four people stood on the sidewalk holding up signs with messages in block lettering that said “God Hates the USA” and “God Hates Jews.” Their pre-announced appearances generated sizable counterdemonstrations, so they got the full treatment from the media -- top of the news.

The Phelps technique, while outrageous, has been seen before in Richmond. In August of 1998 an anti-abortion/pro-life group of about 50 people staged a demonstration on Monument Ave.

The occasion was the funeral of Associate Supreme Court Justice Lewis F. Powell, Jr. at Grace Covenant Presbyterian Church. The demonstrators set themselves up on the grassy, tree-lined median strip in front of the church. Dozens of uniformed police officers were there to keep the peace.

Inside the church Chief Justice William H. Rehnquist delivered the eulogy, “…[Powell] was the very embodiment of judicial temperament; receptive to the ideas of his colleagues, fair to the parties to the case, but ultimately relying on his own seasoned judgment.”

Outside the church the eager TV crews had their cameras and microphones ready. The news-makers held up giant oozing fetus placards and posters citing Powell as a “murderer.” When Powell’s family, friends and Supreme Court colleagues came outside, following the service, they had no choice but to notice the demonstration before them. Lenses zoomed in to focus on their stunned reactions.

It’s difficult to imagine the demonstrators at Powell’s funeral changed any minds on the abortion issue by creating such a spectacle in the middle of the street. It didn’t seem they were there to persuade. It did seem they were there to punish Powell’s family and friends, because the sign-waving zealots still hated Powell for his Roe vs. Wade vote in 1973.

As disturbing as that demonstration on Monument Ave. was, it was also an example of American citizens standing on public property, exercising their right to speak their minds about matters political. Such expressions are usually protected.

However, Snyder has claimed that when he was attending his son’s funeral he was a captive audience, so he couldn’t just choose to ignore the Westboro signs.

Whether the Supreme Court will reverse the 4th Circuit’s decision on that basis remains to be seen. No doubt, it was good politics for attorneys general in those other 48 states to take Snyder’s side. Still, freedom of speech rights aren’t needed to shield popular speech. They never were. And, however designed-to-injure Phelps warmed-over Ku Klux Klan language may have seemed -- in the name of religious speech -- it was definitely political speech.

If the Supremes buy Snyder’s captive-audience argument, it seems that would open the door to laws prohibiting all sorts of demonstrations in public, because particular people couldn’t easily opt out of being subjected to them. So his lawyers may have a tough job on their hands.

If the 4th Circuit’s decision that threw out the damages on free speech grounds is upheld at the highest level, Cuccinelli is going to suddenly look smarter than the AGs in those other 48 states. Such a decision would suggest Cuccinelli wisely avoided jumping on what was an easy bandwagon … just to strike a pose.

*

Note: On March 2, 2011 the Supreme Court ruled 8-1 that the First Amendment protected the Westboro demonstrators in the Snyder case.

Chief Justice John Roberts wrote:

While these messages may fall short of refined social or political commentary, the issues they highlight -- the political and moral conduct of the United States and its citizens, the fate of our Nation, homosexuality in the military and scandals involving the Catholic clergy -- are matters of public import…

Among the papers Roberts and his colleagues had to consider were copies of the piece you just read. In the brief for respondent Fred W. Phelps, et al, on Page 4 there’s a footnote that cites “How Free Are We to Express Hate?” by F.T. Rea.

When I found out from a friend about being in the footnote I was delighted. It amused me to no end that the Westboro defense team had to suck up everything else I had written about them, in order to use the part they wanted the justices to see -- the account of Justice Powell’s funeral.

In July of 2010, when I posted the unusual news at SLANTblog, about my Richmond.com piece being cited in the Westboro brief, Shirley Phelps-Roper -- Fred Phelps’ daughter and lead attorney -- promptly commented:

It's too bad you are compelled to work so hard to distance yourself from the Word of God! This generation hates God's commandments and will NOT have that man Christ Jesus to rule over them. You are so afraid to be aligned with anything close to God that you make a fool of yourself with all your multiplying of words. How sad.

‘Mark 8:38 Whosoever therefore shall be ashamed of me and of my words in this adulterous and sinful generation; of him also shall the Son of man be ashamed, when he cometh in the glory of his Father with the holy angels.’

BTW, you should have done your OpEd piece as if you were speaking those words to God! ALL you do should be as if you are doing it unto God, because rebel, you are.

Here’s what I posted as my answer:

Thanks for the advice. And, I have a Bible saying for you, Matthew 7:15:

‘Beware of false prophets, who come to you in sheep's clothing but inwardly are ravenous wolves. You will know them by their fruits.’

Phelps-Roper never thanked me for writing the piece she used to defend her church's mission of spreading hate, nor has she sent me any more Bible sayings.

So far, this is the only time I can remember agreeing with Ken Cuccinelli about anything.

-- 30 --

All right reserved by F.T. Rea
1,300 words

The Cheaters

My grandfather, who was born in what was then Manchester, Virginia (in 1893), was a veteran of World War I. The photograph of him below was shot in 1916, when he was in the Richmond Light Infantry Blues. They were then stationed in Brownsville, Texas.

For that duty his unit was converted into a cavalry outfit. He was part of a contingent assigned to protect the border, because Mexican revolutionary/bandit Pancho Villa had supposedly been crossing over to raid small towns.

Later the Blues were thrown into WWI in France; the duty there was considerably more dangerous. The story below is about the best lesson-teacher I've ever known.

Having devoted countless hours to competitive sports and games of all sorts, nothing in that realm is quite as galling to this grizzled scribbler as the cheater’s averted eye of denial, or the practiced tones of his shameless spiel.

In the middle of a pick-up basketball game, or a friendly Frisbee-golf round, too often, my barbed outspokenness over what I have perceived as deliberate cheating has ruffled feathers.

Alas, it's my nature. I can't help it any more than a watchful blue jay can resist dive-bombing an alley cat.

The reader might wonder about whether I'm overcompensating for dishonest aspects of myself, or if I could be dwelling on memories of feeling cheated out of something dear.

OK, fair enough, I don't deny any of that. Still, truth be told, it mostly goes back to a particular afternoon's mischief, gone wrong.

*

A blue-collar architect with the Chesapeake & Ohio Railway for decades, my maternal grandfather, Frank W. Owen was a natural entertainer. Blessed with a resonant baritone/bass voice, he began singing professionally in his teens and continued performing, as a soloist and with barbershop quartets, into his mid-60s.

Shortly after his retirement, at 65, the lifelong grip on good health he had enjoyed failed; an infection he picked up during a routine hernia surgery at a VA hospital nearly killed him. It left him with no sense of touch in his extremities.

Once he got some of his strength back, he found comfort in returning to his role as umpire of the baseball games played in his yard by the neighborhood's boys. He couldn't stand up behind home plate, anymore, but he did alright sitting in the shade of the plum tree, some 25 feet away.

This was the summer he taught me, along with a few of my friends, the fundamentals of poker. To learn the game we didn’t play for real money. Each player got so many poker chips. If his chips ran out, he became a spectator.

The poker professor said he’d never let us beat him, claiming he owed it to the game itself to win if he could, which he always did. Woven throughout his lessons on betting strategy were stories about poker hands and football games from his cavalry days, serving with the Richmond Blues during World War I.

As likely as not, the stories he told would end up underlining points he saw as standards: He challenged us to expose the true coward at the heart of every bully. "Punch him in the nose," he'd chuckle, "and even if you get whipped he'll never bother you again." In team sports, the success of the team trumped all else. Moreover, withholding one’s best effort in any game, no matter the score, was beyond the pale.

Such lazy afternoons came and went so easily that summer there was no way then, at 11, I could have appreciated how precious they would seem looking back on them.

On the other hand, there were occasions he would make it tough on me. Especially when he spotted a boy breaking the yard's rules or playing dirty. It was more than a little embarrassing when he would wave his cane and bellow his rulings. For flagrant violations, or protesting his call too much, he barred the guilty boy from the yard for a day or two.

F. W. Owen’s hard-edged opinions about fair play, and looking directly in the eye at whatever comes along, were not particularly modern. Nor were they always easy for know-it-all adolescent boys to swallow.

Predictably, the day came when a plot was hatched. We decided to see if artful subterfuge could beat him at poker just once. The conspirators practiced in secret for hours, passing cards under the table with bare feet and developing signals. It was accepted that we would not get away with it for long, but to pull it off for a few hands would be pure fun.

Following baseball, with the post-game watermelon consumed, I fetched the cards and chips. Then the four card sharks moved in to put the caper in play.

To our amazement, the plan went off smoothly. After hands of what we saw as sly tricks we went blatant, expecting/needing to get caught, so we could gloat over having tricked the great master.

Later, as he told the boys' favorite story -- the one about a Spanish women who bit him on the arm at a train station in France -- one-eyed jacks tucked between dirty toes were being passed under the table.

Then the joy began to drain out of the adventure rapidly. With semi-secret gestures I called the ruse off. A couple of hands were played with no shenanigans but he ran out of chips, anyway.

Head bowed, he sighed, “Today I can’t win for loosing; you boys are just too good for me.” Utterly dependent on his cane for balance he slowly walked into the shadows toward the back porch. It was agonizing.

The game was over; we were no longer pranksters. We were cheaters.

As he carefully negotiated the steps, my last chance to save the day came and went without a syllable out of me to set the record straight. It was hard to believe that he hadn’t seen what we were doing, but my guilt burned so deeply I didn't wonder enough about that, then.

*

My grandfather didn’t play poker with us again. He went on umpiring, and telling his salty stories afterward over watermelon. We tried playing poker the same way without him, but it didn’t work; the value the chips had magically represented was gone. The boys had outgrown poker without real money on the line.

Although I thought about that afternoon's shame many times before he died nine years later, neither of us ever mentioned it. For my part, when I tried to bring it up, to clear the air, the words always stuck in my throat.

Eventually, I grew to become as intolerant of petty cheating as he was in his day, maybe even more so. And, as it was for him, the blue jay has always been my favorite bird.

-- 30 --

All rights are served by F.T. Rea
1,138 words

Perspective Shapes Meaning

-- SLANTblog 2011

After decades of driving automobiles, mostly small station wagons, over the same city streets, nine years ago your narrator switched to using his then-29-year-old bicycle as his primary ride.


It was quite a change.

At first I was shocked at how soft my legs had gotten. It had been years since I’d done much riding. It was a decision made in summertime. Then the weather began to change. It had been even more years since I had ridden in the dead of winter. Once my legs were in a little better shape, I was reminded again and again of what a great deal that white Azuki ten-speed was when I bought it in 1973 at Dee‘s Bike Shop.

Perched on the Brooks leather saddle, exposed to the elements and staying alert for signs of physical threats, I began to notice things mostly ignored rattling around town in motorized metal boxes on wheels. The perspective I had regained felt good. It was once a view of life I had appreciated quite a bit, so it was like an old friend had come back to town.

As an automobile expands our range, it also seals us off. While time can reveal new truths, in order to see more deeply into selected memories, it seems others must fade away entirely.

After going a full year on the bike I had a confidence in myself that I couldn’t remember having lost, but it was nice to have a measure of it back. Some time after that I came upon an accident involving several vehicles. As I negotiated my way around the debris on Floyd Avenue, near the post office, the sobbing of a young woman caught my attention. She was seated at the wheel of one of the wrecks. Her desperate hands clutched her face.

When I came within a few feet of her mangled small SUV, the sound of utter despair pouring out of her caught me off-guard; her crying pierced my practiced detachment. Although I didn’t know her, for a few seconds my heart raced. If I’d been in a car I probably wouldn’t have seen or heard her.

Pedaling away it dawned on me that it had been a long time since I had been that close to a woman crying inconsolably. Pedaling harder I pushed the haunts that were surfacing back into their storage place.

A few days later riding across a small bridge over the expressway, a car nudged me too close to the railing and I glanced over at the traffic going by under the bridge.

Whoa!

The sense of being up high and uncomfortably close to the drop-off flipped a caution switch in this old goat’s head.

After a deep breath I enjoyed a private laugh at how much I'd changed over the years, with regard to heights. The daredevil boy who had once climbed the WTVR tower for grins had been body-snatched long ago.

Crossing the bridge the bicycle chain churned smoothly, sounding precisely as it always had. I wondered if I’ll ever get too scared to ride my bike across such bridges. Maybe I’ll even be afraid to ride at all, one day, I chuckled. After all, for a good while I’d been too scared to get close enough to a woman to hear her cry.

Now that bicycle is gone. It was stolen yesterday, so my perspective on it has changed. It had outlasted a marriage, three live-in girlfriends and nine motor vehicles.

Upon realizing the bike was missing I felt that familiar numbness creep over me -- the feeling I get when I‘m coping with the news of a death. As I walked around the lower Fan District looking through alleys for the stolen bike, of course I dwelled on favorite memories to do with the departed. I’ll share just one of them:

In the mid-70s I went for a ride in a gentle summer rain, which was not an unusual thing for me to do then. There’s a pretty good chance I had smoked some pot before I took off. As I rode east, away from my Fan District home, the rain came down harder. To complete the picture I was wearing a pair of cut-off jeans and a pair of Converse All-Stars.

The complete scene has remained fresh; I can vividly remember riding fast and fearlessly down the hills on East Franklin Street, just past the Richmond Newspapers building. The rain felt great falling onto my bare skin. As it was a Saturday there were no cars on the road. Flying toward Capitol Square I trusted my bike, absolutely.

Yes, I've thought of that afternoon's wild ride a thousand times. Now, like it or not, my perspective on it has been shifted into a new gear.

-- 30 --

All rights reserved by F.T. Rea
800 words

El-Amin's Bridge to Bitterness

-- Richmond.com 2011

Armed with a piece of the truth, a determined advocate’s argument can sound convincing. That is, as long as that advocate is allowed to shape his audience’s focus and control the context of the dialogue.

Now comes Sa’ad El-Amin to tell Richmonders just whose names ought to be on a bridge over a creek in Forest Hill Park. According to a Richmond Times-Dispatch’s report on Jan. 4, 2011, former city councilman El-Amin sent a letter to City Council calling for names to be added to the official name of the bridge.

The bridge is on public property, it crosses Reedy Creek. On Sept. 20, 2010 it was dedicated as the Harvey Family Memorial Bridge. A bronze plaque with an image of the family, cast in relief, was affixed to a granite stone on the north end of the bridge. Neighborhood civic associations and friends of the Harveys had put together some $2,500 to cover the costs.

In his scolding missive El-Amin said, "Excluding the Tucker family's name on the new bridge was not simply an oversight by City Council, but a blatant act of omission which has clear racial overtones."

In short, El-Amin wants to memorialize nearly all Richmonders slain by convicted murderers Ricky Javon Gray and Ray Joseph Dandridge five years ago.

Out of some sense of charity, El-Amin has said he isn't insisting the Tuckers’ daughter’s name -- Ashley Baskerville -- be included, since she probably acted as a lookout/accomplice for the two murderers of the Harveys.

Some time after Gray and Dandridge set fire to the Harveys’ home in Woodland Heights, Gray and Dandridge finished off Baskerville and her parents in their home in the Swansboro neighborhood. The Tuckers were thought to have played no role in the other murders.

For background on this story go here.

El-Amin decried an element of racism that he has seen in how the local press has treated stories about murder victims, claiming that the stories about black victims don‘t get as much play. No doubt, he has a point -- that piece of the truth. The stain on our landscape from the Jim Crow Era has not yet faded from view.

Hate still exists, but it’s not tolerated in the halls of power like it was in the past.

However, when El-Amin suggested that racism kept the names of black victims off that memorial plaque in the park, he was ignoring the larger view. El-Amin was willfully averting his eye from the specific history that led to the naming of the bridge.

The Harveys, a family of four, were found dead in their home on Jan. 1, 2006. Because the father, Bryan Harvey, 49, was a well known musician, news of his murder was noticed far and wide. Because the mother, Kathy Harvey, 39, ran a popular toy store in Carytown, the story was a sucker punch to her many customers -- lots of local parents.

Because Bryan, Kathy and their two daughters, Stella and Ruby, were murdered in a spectacularly brutal way during a home invasion, reports of the nightmarish news that staggered Richmond’s arts community echoed all over the world.

The Harveys had family and many friends who wanted to create remembrances of them. Money has been raised to establish several memorials to the Harveys; four new seats in the Byrd Theatre will be dedicated to them soon.

Which is especially fitting, because about 1,400 people attended the Harvey Family memorial service at the Byrd Theatre a week after their deaths. A stage full of musicians reminded the grieving audience to remember the Harveys as they were -- folks who loved to laugh. Six months later, at a ceremony at William F. Fox Elementary School, which Stella, 9, had attended, a bench remembering Stella was dedicated. Her classmates released thousands of Painted Lady butterflies as their parents fought back tears.

While it might make us sad to think of it, the other three local victims of that 2006 crime spree were not well known. So there was no widespread outcry to hold a memorial service in a theater’s auditorium. No butterflies were released.

The fact that the Harveys were white and the other victims were black is hardly the main reason the press treated the murders differently in this specific case.

In the wake of the shocking news about murder in Arizona over the weekend, it’s important for leaders, for all of us, to remember to choose our words carefully. Fanning the embers of old hatreds into flames does none of us any good.

For the sake of making the point that the media pays too much attention to the lives and deaths of good looking, talented celebrities, El-Amin seems eager to slather more bitterness over the memory of the Harveys, just to win points in a nonsensical game that only he wants to play.

Enough is enough!

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All rights reserved by F.T. Rea
813 words

Art: What It Is

Jerry Donato (1941-2010) in the Texas-Wisconsin Border Cafe (circa 1985)

-- SLANTblog 2004

In a Richmond, Virginia courtroom in November of 1982 I witnessed an entertaining scene in which an age-old question — what is art? — was hashed out in front of a patient judge named Jose R. Davila. The judge seemed to thoroughly enjoy the parade of exhibits and witnesses the defense attorneys put before him. The room was packed with observers, which included plenty of gypsy musicians, film buffs and art students wearing paint-speckled dungarees.

The defendant in this freedom of speech case was this story’s teller.

When I got charged with a misdemeanor for posting a handbill I had designed that promoted the premiere of a new feature, “Atomic Cafe,” it was a bust I deliberately provoked. At that time I was determined to beat the City of Richmond with a freedom-of-speech defense and knock out the statute prohibiting the posting of flyers on utility poles.

The little poster had been stapled to a pole near the Virginia Commonwealth University campus. Rather than pay the small fine for breaking The City’s law forbidding such advertising in the public way, as the Biograph’s manager, I opted for a day in court. My defense attorneys, Jack Coaln and Stuart Kaplan -- who were also my good friends -- attacked the wording of the statute as “overreaching.”

They asserted on my behalf that it was my right to post the handbill, plus the public had a right to see it. The prosecution called the handbill “litter.”

Beyond the wording of the statute it was easy enough to see the real push behind The City’s crackdown on posting handbills in the Fan District was coming mostly from people who didn’t want rock ‘n’ roll, or alternative cinema, or all sorts of activities close to where they were living.

Thus, my day in court was one little battle in what had been an ongoing culture war in the Fan District in that era. Some of the Fan’s property owners wanted to get rid of much of the commercial activity in the densely populated neighborhood, especially the restaurants/bars.

The expert witnesses/friends who testified to support my case were David Manning White, Phil Trumbo and Jerry Donato. White had been the chairman of VCU's mass communications department. Trumbo was the best known handbill artist in the Fan. Donato was a painting and printmaking professor at VCU.

We also entered into evidence 100 cool handbills by a variety of artists. We contended that when such flyers appeared on key utility poles, in certain shop windows and on selected bulletin boards, they constituted an information system. We said that an aspect of the citizenry didn’t always trust the mainstream media, especially the daily newspapers, so it frequently relied on information delivered by posters made by people they knew.

The judge was reminded that history-wise, handbills predate newspapers. Furthermore, we asserted that the eight-and-a-half-by-eleven, cheaply printed posters were art — a natural byproduct of having a university with a burgeoning art school in the neighborhood.

At a crucial moment, Donato was being grilled by the prosecutor over just where to draw the line between what should be, and what should not be, considered to be genuine art. The Assistant Commonwealth’s Attorney, William B. Bray, asked the witness if the humble piece of paper in his hand, the offending handbill, could actually be “art.”

“Probably,” shrugged the prof. “Why not?”

The stubborn prosecutor grumbled, reasserting that it was no better than trash in the gutter.

Eventually, having grown weary of the artsy, high-brow vernacular being slung around by the witnesses, the prosecutor tried one last time to make Donato look foolish.

As Warhol’s soup cans had just been mentioned by the art expert, the prosecutor asked something like, “If you were in an alley and happened upon a pile of debris spilled out from a tipped-over trashcan, could that be art, too?”

“Well,” said the artist, pausing momentarily, Jack Benny-like for effect, “that would depend on who tipped the can over.”

Donato’s punch line was perfectly delivered. The courtroom erupted into laughter. Even the judge had to fight off a smile.

The crestfallen prosecutor gave up. The City lost the case. Although I got a kick out of the crack, too, I’ve always thought The City’s mouthpiece missed an opportunity to hit the ball back across the net.

“Sir, let me get this right,” he might have said, “are you saying the difference between art and randomly-strewn garbage is simply a matter of whose hand touched it; that the actual appearance of the objects, taken as a whole, is not the true test? Would you have us believe that without credentials, such as yours, one is ill-equipped to determine the difference ordinary trash and fine art?”

A smarter lawyer could well have exploited that angle.

Still, the prosecutor’s premise/strategy that an expert witness could be compelled to rise up to brand a handbill for a movie, a green piece of paper with black ink on it, as “un-art” was absurd. So, Donato, who was a wily artist if there ever was one, probably would have one-upped the buttoned-down lawyer, no matter what.

Perhaps the question shouldn’t have been — how can you tell fake art from real art? After all, any town is full of bad art, mediocre art and good art. Name your poison.

The better question to ask is whether the art is worthwhile or useful. Then you become the expert witness. However, when it comes to great art, it still depends on who tips the can over.

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923 words