Name | Paul Robeson |
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Birth name | Paul Leroy Robeson |
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Born | April 09, 1898Princeton, New Jersey, U.S. |
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Died | January 23, 1976Philadelphia, Pennsylvania, U.S. |
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Instrument | Vocals |
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Genre | SpiritualsInternational folkMusicals |
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Occupation | Actor, concert singer, athlete, lawyer, social activist |
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Years active | 1917–63 |
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background | solo_singer
}} |
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Name | Paul "Robey" Robeson |
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Position | End |
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Birth date | April 9, 1898 |
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Death date | January 23, 1976 |
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Heightft | 6 |
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Heightin | 3 |
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Weight | 219 |
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Debutyear | 1921 |
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Debutteam | Akron Pros |
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Finalyear | 1922 |
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Finalteam | Milwaukee Badgers |
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College | Rutgers |
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Teams |
Akron Pros ()
Milwaukee Badgers () |
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Statseason | 1922 |
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Statlabel1 | Games played |
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Statvalue1 | 15 |
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Statlabel2 | Games started |
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Statvalue2 | 13 |
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Statlabel3 | TD |
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Statvalue3 | 1 |
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Nfl | ROB361120 |
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Collegehof | 10080
}} |
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Paul Leroy Robeson (April 9, 1898 – January 23, 1976) was an American concert singer (bass-baritone), recording artist, athlete and actor who became noted for his political radicalism and activism in the civil rights movement. Robeson was the first major concert star to popularize the performance of Negro spirituals. He was the first black actor of the 20th century to portray Shakespeare's ''Othello'' in a production with an otherwise all-white cast.
A nationally renowned football player from 1917 to the early 1920s, Robeson was an All-American athlete, and Phi Beta Kappa Society laureate during his years at Rutgers University. In 1923, Robeson drifted into amateur theater work, and within a decade he had become an international star of stage, screen, radio and film. Robeson was awarded the NAACP's Spingarn Medal, the Stalin Peace Prize and honorary memberships in over half a dozen trade unions. James Earl Jones, Sidney Poitier and Harry Belafonte have cited Robeson's lead film roles as being the first to display dignity for black actors and pride in African heritage. Though one of the most internationally famous people of the 20th century, Robeson was blacklisted during the Cold War and his activism was nearly erased from mainstream accounts of that period.
At the height of his career, Paul Robeson chose to become primarily a political artist. In 1950, Robeson's passport was revoked under the McCarran Act over his work in the anti-imperialism movement and what the U.S. State Department called Robeson's "frequent criticism while abroad of the treatment of blacks in the US." Under heavy and daily surveillance by both the FBI and the CIA and publicly condemned for his beliefs, Robeson's income fell dramatically and he was blacklisted from performing on stage, screen, radio and television. Robeson's right to travel was restored in 1958, but his already faltering health broke down under controversial circumstances in 1963. By 1965, he was forced into permanent retirement. He spent his final years in Philadelphia, Pennsylvania, unapologetic about his political views and career. Advocates of Robeson's legacy have restored his name to history books and sports records, honoring his memory with posthumous recognitions.
Early life
Paul Robeson was born in Princeton, New Jersey in 1898. His father, William Drew Robeson I, was descended from the Igbo people of Nigeria, and had run away during the American Civil War from the Robeson plantation in North Carolina where he was born a slave. He served in the Union Army in Pennsylvania, earned a degree from Lincoln University (Pennsylvania), and became a minister of the gospel. His mother Maria Louisa Bustill was from a prominent black abolitionist Quaker family of mixed ancestry: African, Anglo-American, and Lenape.
From 1881 until 1901, William Robeson was minister of the Witherspoon Street Presbyterian Church in Princeton. Robeson refused to bow to pressure from the "white residents of Princeton" to cease his tendency to "speak out against social injustice." Louisa Robeson was nearly blind from cataracts and died in a house fire in 1904 when her son Paul was six years old.
The Robesons had four other children: William Drew Robeson II, a physician who practiced in Washington, D.C.; Rev. Benjamin C. Robeson, Pastor of Mother AME Zion Church in NY City, the oldest Black Church in NY State; Reeve Robeson (called Reed); and Marian Robeson, who lived in Philadelphia. William Drew Robeson was said to be a stern disciplinarian when it came to the children's studies and behavior. When he was eight years old, Robeson moved with his family to Westfield, New Jersey, where he attended the public schools together with white children. In 1910, when the family relocated to Somerville, New Jersey, he continued to impress upon Paul that he could achieve anything that white people could.
Scholarship
Robeson was only the third African-American student accepted at Rutgers, and the only black student during his time on campus. Robeson was also one of three classmates at Rutgers accepted into
Phi Beta Kappa in his third year, and one of four students selected in 1919 to
Cap and Skull, Rutgers' honor society.
Campus clubs and racism
Paul Robeson was also active on the Rutgers debate team and in oratorical contests both on and off campus, winning the statewide prize four years in a row. He sang with the campus
Glee club, but due to the racist climate at the time, he was not welcome to travel with the latter group out of town or at social events following its on-campus performances. He was elected to the Rutgers literary society, the
Philoclean Society, but was not allowed to fully share in its festivities.
All-American and varsity sports
At Rutgers he also excelled as a sportsman. Robeson earned a total of 15
varsity letters in American football, baseball, basketball, and track and field. For his accomplishments as an
end in football, he was named a first-team
All-America in 1917 and 1918. He was Rutgers' first All-American football player (of any race). During scrimmages while Robeson initially tried out for the football team, he faced both racism and harsh physical injury: for instance, a senior member of the team injured Robeson's hand with a cleated foot, tearing off fingernails.
He was benched on more than one occasion when Southern teams
William and Mary and
Georgia Tech refused to play against a black man.
Though Robeson later said he gave thought to quitting, he persevered and was described by football coach Walter Camp as "the greatest defensive end to ever trot the gridiron." Lou Little of Columbia University football said of him, "there has never been a greater player in the history of football than Robeson."
Graduation honors
Chosen to be the 1919 class
valedictorian, during his oration Robeson exhorted his classmates to "catch a new vision", while the "class prophecy" envisioned that he would become a governor of New Jersey by 1940 and "leader of the colored race in America." Robeson's senior
thesis was entitled "The
Fourteenth Amendment, the Sleeping Giant of the American Constitution", in which he expressed optimism about white intentions to end segregation. Sports historian Francis C. Harris wrote that Robeson "...established a level of excellence as a scholar-athlete that few others, if any, have ever attained."
Columbia Law School
After graduation from Rutgers, Robeson moved to
Harlem and entered
Columbia Law School. Between 1920 and 1923, Robeson helped pay his way through law school by working both as an athlete and as a performer.
He played professional football in the American Professional Football Association (later called the National Football League) with the Akron Pros and Milwaukee Badgers. He served as assistant football coach at Lincoln University in Pennsylvania. There he was initiated into Alpha Phi Alpha, the fraternity for African-American college men, of which Noble Sissle and W.E.B Du Bois were also members. He also played for the St. Christopher Club traveling basketball team during their 1918–19 season.
His first entry into stage performance was as a Columbia law student. He played Simon in ''Simon the Cyrenian'' at the Harlem YMCA in 1920, followed in 1922 by Jim in ''Taboo'' by Mary Hoyt Wiborg at the Sam Harris Theater in Harlem. Also in 1922, Eubie Blake heard Robeson sing casually and encouraged him to appear in his production of ''Shuffle Along'' and Lew Leslie's ''Plantation Revue'' as a member of the close-harmony singing quartet the Harmony Kings. The production of ''Taboo'', renamed ''Voodoo'', was taken to cities in Britain in summer 1922. Directed by Mrs Patrick Campbell, it gave greater prominence to Robeson's singing, which was praised by critics. In London, Robeson was able to meet with prominent African-American expatriates.
Robeson graduated from Columbia in 1923, in the same law school class as William O. Douglas — later a United States Supreme Court Justice. Robeson's academic record was not as stellar as it had been at Rutgers, and he had a mostly C average. He was not enthusiastic about the law after graduation.
His broken tenure at the school due to his work in theater made him ineligible for the ''Columbia Law Review''. Editor-in-chief Charles Ascher in later years said that the "Southerners on the board would have put up a fight..."
Marriage and family
In August 1921, Robeson married
Eslanda Cardozo Goode, who headed the pathology laboratory at
Columbia Presbyterian Medical Center in New York City. She came from a distinguished family of a
mixed-race ancestry. Her father Cardozo Goode was related to the
U.S. Supreme Court Justice
Benjamin Cardozo. Essie encouraged Robeson in his career and became his business manager.
Early in their marriage, Eslanda learned that her husband was not dedicated to monogamy and domesticity. Wanting to retain her marriage and status as Robeson's wife, she tolerated his extramarital affairs while also having her own at times. Robeson felt that Essie was instrumental to his success both as his manager and his intellectual partner. Eslanda's diaries and their shared correspondence demonstrates that at times there was anger and recrimination on both sides of their partnership. Despite his ambivalence at times about marriage, Robeson knew that divorcing Eslanda would hurt his stature in the black community. In the 1930s, the couple began legal proceedings toward divorce when Robeson fell in love with Yolanda Jackson, a British woman, but the relationship ended abruptly. Eslanda and Robeson stayed together, continuing an open marriage until Eslanda died on December 23, 1965. Eslanda wrote the first biography of Paul Robeson, ''Paul Robeson: Negro''. Told in the third person, she wrote part fiction, part memoir about the problems in their marriage and Robeson's early life and career. She incorrectly added "Bustill" as Robeson's middle name in this book.
They had one son, Paul Robeson, Jr., born November 2, 1927. He has spent much of his life safeguarding his father's legacy by founding ''The Robeson Family Archives'' and ''The Paul Robeson Foundation''. Paul Robeson also had two grandchildren, David Robeson (1951–1998) and Susan Robeson (1953- ), who became a documentary filmmaker. In 1980, Susan Robeson published a pictorial biography of her grandfather.
Religious views
Robeson did not follow in his father's footsteps as a regular congregant in the
African Methodist Episcopal church, but he had a lifelong reverence for the
black church. In 1998, close family friend Bishop J. Clinton Hoggard, who eulogized Robeson at his funeral, stated, "He was a Christian, he believed in God, which is why he is one who could sing the great hymns of the church, they come out of his soul." In a 1929 entry in his diary, Robeson expressed the thought that his career and marriage were part of a "higher plan", writing: "God watches over me and guides me. He's with me and let's me fight my own battles and hopes I'll win." Later when his left-wing activism became controversial, accusations that he was a "'godless' Communist" were not accepted by his black churchgoing audiences, who felt he "personified the spirituals in his music". Robeson never expressed "even the remotest allegiance to 'materialistic atheism'". According to his biographer
Martin Duberman, Robeson was "not a religious man in any formalistic sense ... nonetheless an intensely spiritual one, convinced that some higher force watched over him." In a 1958 BBC television interview, Robeson reminisced of his days growing up in his father's church, "every Sunday morning there would be a rolling up of a great sermon and 'bow down on bended knees, oh Lord and hail Mary' and it became very much like an opera."
Early career (1920–1928)
Robeson started working for the law firm of Stotesbury (a Rutger's alumnus) and Miner in New York City, assisting on a litigation trial over
Jay Gould's estate. Though his brief was used in the Gould trial, Robeson, the only black person in the law firm, quit after a white secretary refused to take dictation from him, saying: "I never take dictation from a nigger."
In the 1920s, Robeson found fame as an actor and singing star of both stage and radio with his bass voice and commanding presence. His voice could descend as low as C below the bass clef. Robeson and his accompanist and arranger Lawrence Brown were the first to bring spirituals to the concert stage; their association lasted through four decades.
Robeson was acclaimed for his 1924 Provincetown Playhouse performance in the title role of Eugene O'Neill's ''The Emperor Jones''. Charles Sidney Gilpin had premiered the role in 1920. He also gained recognition for his starring performance in the premier production of O'Neill's ''All God's Chillun Got Wings'' (1924). He portrayed the husband of an abusive white woman (played by Mary Blair). Resenting him, she destroys his promising career as a lawyer. The interracial marriage was controversial for many members of both black and white audiences. He next played Crown in the stage version of DuBose Heyward's novel ''Porgy''. This work was later adapted by George and Ira Gershwin as the opera ''Porgy and Bess''.
During his days at Columbia Law School, Robeson had sung professionally though giving little thought to a career. In 1924 when unable to whistle for a performance in ''Taboo'', he sang a spiritual instead, pleasing both the cast and audiences. He had reconnected with the accompanist and arranger Lawrence Brown in 1924, and they rapidly established a successful musical partnership. Robeson later credited Brown for guiding him "...to the beauty of my own folk music and to the music of all other Peoples so like our own."
Lawrence Brown had previously worked with the gospel singer Roland Hayes, and he had an extensive repertoire of African-American folk songs. His partnership with Robeson helped bring these works to much wider attention both in the U.S. and abroad. Robeson became a hugely popular concert draw in New York City, and his wife Esland acted as his agent and manager. Carl Sandburg distinguished between Robeson's interpretation of spirituals and that of Roland Hayes, saying that "Hayes imitates white culture... Robeson is the real thing...." Robeson was broadcast in performance on New York radio, usually performing Negro spirituals; on June 7, 1927 he was a featured performer on the ''Edison Hour''. Robeson became interested in the folk music of the world; his standard repertoire after the 1920s included songs in Chinese, Russian, Yiddish and German.
Robeson's earliest film was ''Body and Soul'' (1925), a silent American race film directed by Oscar Micheaux. Robeson played both a conniving preacher, and his twin brother. Disapproving of seeing a preacher as a negative character, the New York Motion Pictures Commission ordered Micheaux to reduce that part.
Move to Britain and political involvement (1928–1939)
In the late 1920s, the Robesons moved to England, where they lived until the outbreak of
World War II in 1939. Robeson made extended singing tours of the United States and Europe and appeared in nine films, all but two of them British productions.
''Show Boat''
In 1928 Robeson played the role of Joe, which was written for him, in the London production of the American musical ''
Show Boat''. His rendition of ''
Ol' Man River'' is widely considered the definitive version of the song. Robeson sang the song as written when he performed in the musical, but in later recitals, he altered the lyrics to transform it to a song of black defiance and perseverance. While ''Show Boat'' was immensely popular with white audiences, black theater reviewers were less than impressed. J.A. Rodgers of ''The
Amsterdam News'' wrote that he had spoken to "fully some thirty Negros of intelligence and self respect" who urged "their disapprobation of the play" and he had "heard many harsh things said against Robeson... if anyone had called him (Robeson) a 'nigger', he'd be the first to get offended and there he is singing 'nigger, nigger' before all these white people."
Involvement with Welsh miners
While performing in ''Show Boat'', Robeson met a group of unemployed miners, who had taken part in a
hunger march from
South Wales. After taking them for their first meal in days, he decided to help their cause. He visited the
Rhondda Valley and the Talygarn Miners' Rest Home, and performed for miners and their families in
Cardiff,
Neath and
Aberdare. At the invitation of a group of Labour MPs, he was the first actor to be invited for lunch at the House of Commons.
''Othello''
In 1930, Robeson starred for the first time in the title role in
William Shakespeare's ''
Othello'' in England.
Peggy Ashcroft co-starred as
Desdemona. When the play opened on May 19, Robeson became the first black actor in nearly a century, since
Ira Aldridge, to play Othello opposite a white cast. The production met with mostly positive reviews with a few lukewarm notices pointing out Robeson's "highly civilized quality" and lack of the "grand style." He had an affair with Ashcroft that lasted on and off until the late 1950s.
Political activities
In an interview with
W. R. Titterton in 1930, Robeson rejected "political activism, political advocacy and commitment to a 'cause' as suitable modes for an artist", believing that the artist must be "ultimately accountable only to himself and his art; the prophet and the warrior are by definition at odds with the artist." His son Paul Robeson, Jr. later said, "In 1930, Paul had not yet jettisoned the 'don't upset white folks' dictum of his boyhood days, thus interfering with his ability to project the regal and commanding posture that Othello should deliver from the outset..." In 1938, he performed for an audience of 7,000 at the Welsh International Brigades National Memorial in
Mountain Ash, to commemorate the 33 men from Wales killed while fighting on the side of the
Spanish Republic in the
Spanish Civil War. Because of his public stands, he became a popular cultural figure in Wales. Robeson often stayed in
Tiger Bay with his American uncle by marriage,
Aaron Mossell, a black
Communist active in
Pan-Africanism.
In 1940, Robeson appeared in ''The Proud Valley'', playing a black laborer who arrives in the Rhondda and wins the hearts of the local people.
While continuing his professional singing and acting career, through 1939 Robeson became increasingly involved with the struggles of British workers. He performed for them on numerous occasions, entered the pits with miners to see their working conditions, and befriended them. Returning to England in 1949, he said his earlier time there had a profound influence on his political development:
I learned my militancy and my politics, from your Labor Movement here in Britain.... That was how I realized that the fight of my Negro people in America and the fight of oppressed workers everywhere was the same struggle.
Film work
Robeson's second film was the experimental classic ''
Borderline''. Shot in Switzerland in 1930 by a trio of ''
avant garde'' artists known as the
Pool Group, and co-starring his wife, Eslanda, the film chronicles race relations in a small European village. In 1933, he returned briefly to the U.S. where he reprised his title role in
Dudley Murphy's film version of
Eugene O'Neill's ''
The Emperor Jones''. The American version of ''The Emperor Jones'' was censored to leave out a dramatic scene featuring Robeson's killing a white prison guard who had ordered his character to beat a fellow prisoner who had been caught escaping. The 1936
Universal Pictures film ''
Show Boat'' was a box office hit for Robeson. It is the most frequently shown of all his films, and his performance of the main song "
Ol' Man River" was particularly notable.
At the height of his popularity in the 1930s, Robeson became an international box office attraction in British films such as ''Song of Freedom'' (1936) and ''Sanders of the River'' (1935). He was also King Umbopa in the 1937 version of ''King Solomon's Mines''. In films such as ''Jericho'' and ''Proud Valley'', he portrayed strong black American male leading roles without the subservience typical of roles for blacks at the time. Because of his growing political and racial consciousness, he was one of the first actors of any race to demand (and receive) final cut approval on a film (''Song of Freedom''). He was the first black actor to have roles that expressed both dignity and pride in African heritage.
Theatre work
Robeson played the role of
Toussaint L'Ouverture in the 1936 play ''Black Majesty'' by
C.L.R. James, alongside the actor
Robert Adams. He had long wanted to play the role, but the production closed after two weeks. Adams went on to co-star in two of Robeson's films, ''
Song of Freedom'' and ''
King Solomon's Mines'', and founded the
Negro Repertory Arts Theater.
In 1938, Robeson appeared in a well-received two-month run of Herbert Marshall's ''Plant in the Sun''. The play dealt with sit-down strikes and union organizing in the US, and was produced by the Unity Theatre.
Identification with African anti-imperialism
Living in London, Robeson became aware of knowledge about African history and culture that was not available in the United States. During the 1930s he met with African students in London, who urged him to travel to the
Soviet Union. Paul and Eslanda Robeson were named honorary members of the West African Students' Union in London, where they became good friends with future national presidents
Kwame Nkrumah and
Jomo Kenyatta. In essays such as "I want to be African", Robeson wrote of his desire to embrace his heritage. He compared the issues of peoples in the colonial possessions of Western Europe and African Americans. Robeson's experiences during the 1930s caused him to alter how he felt about the relationship between art and activism. His African studies, contacts in the anti-
imperialism movement, and half-decade association with British socialists led him to visit the Soviet Union. He did not make any public declaration of support for socialism, saying: "In England they call me a 'Communist' because of my views, but I'm certainly not a member of the Communist Party." He was so disappointed by the final cut of the ''
Sanders of the River'' (1935) , a stereotypical portrayal of Africa under imperialist rule, that he became "more conscious politically." By the end of the 1930s, Robeson had become an outspoken artist-activist.
Though officially enrolled in phonetics and Swahili at the School of Oriental and African Studies at the University of London in 1934, Robeson also studied other languages there and independently while in London, including Igbo, Yoruba, Zulu, Chinese, Russian and Hindi. Robeson is honoured at SOAS through the Paul Robeson House, opened in 1998. In the 1940s he was studying Chinese, when the FBI stole one of his notebooks and had it translated in an unsuccessful attempt to link him to Communist activities. When asked how many languages Robeson spoke, historian Sterling Stuckey answered, "Some claim twelve, others claim twenty; he certainly sang in a great many."
First visit to the Soviet Union
Robeson journeyed to the Soviet Union in December 1934, via Germany, having been given an official invitation. He and Eslanda were nearly attacked by
Nazi ''
Sturmabteilung'' (Storm troopers) at the stopover in Berlin. In the Soviet Union, Robeson was welcomed by playwrights, artists and filmmakers, among them the film director
Sergei Eisenstein, who became a close friend. Robeson also met with African Americans who had migrated to the USSR, including his two brothers-in-law. He found the USSR free of racism and
racial segregation; Russians ran up to greet him in the streets. He spoke of the "joy and happiness and friendliness, this utter absence of any embarrassment over a 'race question' is all the more keenly felt by me because of the day I spent in Berlin on the way here, and that was a day of horror—in an atmosphere of hatred, fear and suspicion."
Robeson declared that African American spiritual music resonated to Russian folk traditions. He told the press: "Here, I am not a Negro but a human being for the first time in my life ... I walk in full human dignity."
The Spanish Civil War
Robeson had a long association with the
International Brigades who served in the
Spanish Civil War. This close association endures to present day. Throughout his life he cited the struggle against fascism in Spain as an essential part of shaping his transformation into a political artist and activist, writing in his autobiography that Spain was "the turning point of my life." Robeson is one of only three people to have been given honorary membership in the
Abraham Lincoln Brigade, the volunteers from the United States who served in the Spanish Civil War for the International Brigades.
As fascism escalated in Europe, "Save Spain" rallies were organized. The first rally was at the Albert Hall in 1937 sponsored by W.H. Auden, Virginia Woolf, and H.G. Wells, among others, as a benefit concert for the National Joint Committee for Spanish Refugees in Aid of the Basque Refugee Children's Fund. The program cover was designed by Pablo Picasso. In Moscow Robeson recorded a message to be related by radio to the concert, but when Germany threatened to jam the broadcast, and the Albert Hall managers did not wish it to be received, he decided to fly to London to attend the rally in person. In his performance, he changed the lyrics of "Old Man River" from "I'm tired of livin' and scared of dyin'" to "I must keep fightin' until I'm dyin'." He also stated, "The liberation of Spain from the oppression of fascist reactionaries is not a private matter of the Spaniards, but the common cause of all advanced and progressive humanity." Robeson's recorded message included this statement, which became his epitaph:
The artist must take sides. He must elect to fight for freedom or slavery. I have made my choice. I had no alternative. The history of the capitalist era is characterized by the degradation of my people: despoiled of their lands, their culture destroyed, ... denied equal protection under law, and deprived their rightful place in the respect of their fellows. Not through blind faith or coercion but conscious of my course, I take my place with you.
By December 1937 Robeson had addressed four rallies for the Republican cause. He had also denounced fascist attacks on Ethiopia by Italy and spoke out in favor of the emerging Communist revolution in China. His British entertainment manager was concerned about the implications of his becoming a political artist. Robeson decided to establish his political events as primary, explaining to the press that, "something inside me has turned". No longer would he appear in "decadent Hollywood films", he stated, but instead would portray "the life, hopes and aspirations of the struggling people from which I come."
Visiting Spain in 1938, Robeson met with the American men and women of The Abraham Lincoln Brigade on the battlefields, including about ninety-five African Americans. Back in Europe, he raised funds for the Spanish Republic, and to aid returning wounded Lincoln veterans in need of medical care.
The Council on African Affairs
Robeson co-founded with
Max Yergan the International Committee on African Affairs in 1937 (from 1941, the
Council on African Affairs, CAA). The CAA provided information about Africa across the U.S., particularly to African-Americans. During World War II, it functioned as a coalition including a variety of activists from varying leftist backgrounds. Its most successful campaign was probably that for South African famine relief in 1946. Under the weight of internal disputes, government repression, and financial hardships, the CAA disbanded in 1955.
Height of fame and World War II (1939–1945)
Ballad for Americans
After his return from Europe in 1939, Robeson quickly became a national celebrity once again when he performed ''Ballad for Americans'', an
American patriotic
cantata with lyrics by
John La Touche and music by
Earl Robinson. Originally titled ''The Ballad for
Uncle Sam'', it was written for a
Works Progress Administration theatre project called ''
Sing for Your Supper''. Robeson performed "Ballad" on the
CBS radio network in 1943, accompanied by chorus and orchestra.
Bing Crosby made a commercially successful recording of the piece, but the song is closely associated with Robeson, standing at the pinnacle of his music and radio career prior to the
Cold War.
He sang Ballad for Americans at The Hollywood Bowl to the largest sold-out crowd in its history. The Beverly Wilshire was the only hotel in Los Angeles willing to accommodate Robeson, at the then exorbitant rate of $100 per night and only if he would register under an assumed name. He complied with the requirements, but then arranged to spend two hours every afternoon sitting in the lobby, where he could easily be recognized. When asked why, he responded, "To ensure that the next time Black singers and actors come through, they'll have a place to stay." During that period, Collier's magazine named him both "favorite male Negro singer" and "America's no.1 entertainer."
Wartime performances
When Japan's
attack on Pearl Harbor brought the United States into the war, Robeson was among the first performers to give benefit concerts on behalf of the American war effort, making him one of the top American actors and singers of that era. In an interview published in all the black weeklies and the July–August issue of ''TAC'', magazine of the Theatre Arts Committee, Robeson was asked what prompted his decision to return to the US to live, he replied:
I've learned that my people are not the only ones oppressed. That it is the same for Jews or Chinese as for Negroes, and that such prejudice has no place in a democracy. I have sung my songs all over the world, and everywhere found that some common bond makes the people of all lands take to Negro songs, as to their own....{A]ll oppressed people cry out against their oppressors....[These experiences] have made me come home to sing my songs so that we will see that our democracy does not vanish. If I can contribute to this as an artist, I shall be happy.
Film work
In 1942 Robeson lent his speaking and singing talents to the
Frontier Films production of ''
Native Land''. A combination of a documentary format and staged reenactments, the film depicted the struggle of trade unions against anti-union corporations. It was based on the 1938 report of the
La Follette Committee's investigation of the repression of labor organizing. The FBI labeled it "...obviously a Communist project."
The same year, in Hollywood, Robeson participated in the anthology film ''Tales of Manhattan''. His segment depicted black people's living conditions under the sharecropping system. Robeson was dissatisfied, calling it "very offensive to my people. It makes the Negro childlike and innocent and is in the old plantation hallelujah shouter tradition". He attempted to remove the film from distribution but buying up all prints proved far too expensive. Robeson held a press conference, announcing that he would no longer act in Hollywood films because of the demeaning roles available to black actors and would gladly join others in picketing the film. During this period, Robeson also turned down roles in ''Moby Dick'', ''Gone With The Wind'', ''Song of the South'' and ''Porgy and Bess''.
Japanese Americans
In February 1942, Robeson was approached by the sculptor
Isamu Noguchi to join a panel of prominent non-Asians testifying before Congress to the loyalty of Japanese Americans, in order to avert mass removal. Robeson volunteered but the panel idea was dropped once Roosevelt signed
Executive Order 9066.
Robeson remained attentive to Nisei concerns. In a 1943 speech, he praised "the workers from Mexico and from the east--Japan and the Philippines--whose labor has helped make the west and the southwest a fruitful land." In 1946, he opposed a move by the Canadian government to deport thousands of Japanese Canadians. Robeson accepted honorary life membership of the Japanese Canadian Committee for Democracy and gave a concert in Salt Lake City, then home to the Japanese American Citizens League.
Civil Rights activism
In winter 1943, Robeson traveled to Boston where he called for a full investigation into the recent rash of
antisemitic acts of vandalism against a Jewish cemetery and a
synagogue. The following month he spoke at the Waldorf-Astoria Hotel, New York, at 12th Annual ''Herald Tribune'' Forum, on the participation of African Americans in the fight against the Axis powers. In December, 1943, Robeson addressed an annual meeting of
Major League Baseball club owners, demanding they admit black players to major league baseball, helping to pave the way for Jackie Robinson to break the "color bar" in baseball two years later.
The Broadway Othello
Robeson reprised the role of Othello in New York in 1943 under the direction of
Margaret Webster, and toured the US with it until 1945. , his run of ''Othello'' is the longest of any Shakespeare play on
Broadway, running for 296 performances.
Uta Hagen played Desdemona, and
José Ferrer played Iago. For his portrayal, Robeson received a
Donaldson Award, as well as the Gold Medal for the best diction in the American theater, which had only been awarded nine times since its inception in 1924. The eighteen-disc 78 RPM record album made by
Columbia Masterworks from this production was the longest
spoken word album made until then, and the first two-hour album ever made of a Shakespeare play. It was later transferred to LP, where it appeared on a three-disc album set, and has been issued on CD by the company Pearl. Unfortunately, its career on LP was extremely brief, since the recording was made in the 1940's and Robeson was blacklisted shortly after.
thumb|right|250px|Paul Robeson with Uta Hagen in the
Theatre Guild production of ''Othello''.The play had its Broadway run at the
Shubert Theatre, and Robeson was the first African American to play the role with a white supporting cast on the Broadway stage. At the opening night performance, the audience gave the cast a twenty-minute standing ovation, for ten curtain calls. Despite his popularity, Robeson was not permitted to dine at
Sardi's, a once-segregated restaurant located just across the street from the Theatre. Robeson toured with Othello in the US and Canada until 1945 and continued to perform solo excerpts from the play at his concert performances for the remainder of his career.
Civil rights activism and post war politics (1945–1948)
During World War II, Robeson's support for the Allied War effort had made him the world's most famous African-American and his previous statements and advocacy for socialism had been ignored by both the media and the white establishment. The start of the
Cold war led to a social climate in which most civil rights and anti-imperialist groups in the United States were considered "Communist affiliated."Many of Robeson's closest friends and associates including
Benjamin Davis,
Howard Fast and
William L. Patterson, were CPUSA members.
Spingarn medal
In 1945, Robeson was awarded the
Spingarn medal by the NAACP for his "distinguished achievements in the theatre and concert stage as well as his active concern for the rights of the common man for every race, color, religion and nationality."
American Crusade to End Lynching
In July 1946, as Chairman of the Council on African Affairs, Robeson telegramed President Truman on the lynching of four African Americans in Georgia, demanding that the federal government "take steps to apprehend and punish the perpetrators ... and to halt the rising tide of lynch law.
In September of that year, Robeson spoke at a large rally against lynching, at Madison Square Gardens. Also that September, Robeson headed a protest at the Lincoln Memorial, for the American Crusade Against Lynching, a coalition of organizations and public figures, including Albert Einstein. Following the rally, he led a delegation to the White House to present a legislative and educational program to President Truman aimed at ending mob violence; demanding that lynchers be prosecuted and calling on Congress to enact a federal anti-lynching law. Robeson then warned Truman that if the government did not do something to end lynching, "the Negroes will". He contrasted the United States lead in prosecuting Nazis at the Nuremberg Trials with the continuation of lynching at home. Truman refused the request to issue a formal public statement against lynching, stating that it was not "the right time." Robeson also gave a radio address, calling on all Americans of all races to demand that Congress pass civil rights legislation.
Tenney Committees
On October 7, 1946, Robeson testified before the Fact-Finding Committee on Un-American Activities in California (
Tenney Committee) that he was not a Communist Party member. He was never identified as an official member of any Communist organization.
Civil Rights Congress
In 1947 Robeson met with leaders of the NAACP to form a coalition to coordinate anti-lynching efforts with the Civil Rights Congress, an organization close to the
Communist Party of the United States of America, regarded as "subversive and communist" by the Truman administration.
Robeson sang and spoke in 1948 at an event organized by the Los Angeles Civil Rights Congress and labor unions to launch a campaign against job discrimination, for passage of the federal Fair Employment Practices Act also known as Executive Order 8802, anti-lynching and anti-poll tax legislation, and citizens’ action to defeat the county loyalty oath climate.
Robeson again sought an appointment with President Truman to confer on anti-poll tax, anti-lynching and fair employment legislation, but repeated requests were rejected.
The Progressive Party
In 1948, Robeson was very active as co-chairman of the presidential campaign to elect
Progressive Party candidate
Henry A. Wallace, who had served as Vice-President under
Franklin D. Roosevelt. Wallace was running on an anti-lynching, pro-civil rights platform and had attracted a diverse group of voters including Communists, liberals and trade unionists. On the campaign trail in June of that year, Robeson went to the
deep south, including Georgia, where he sang before "overflow audiences... in Negro churches in Atlanta and Macon." At the party's convention in Philadelphia, Robeson joined forces with the delegates from the Nisei for Wallace. The Progressive Party went on record in favor of evacuation claims for former camp residents, repeal of discriminatory laws against Japanese aliens, plus equal immigration and naturalization rights. During the campaign, Robeson organized a fund-raising concert tour in Hawaii under the auspices of the Longshoreman's Union.
Trade union activism
Robeson's belief that the labor movement and trade unionism were crucial to the civil rights of oppressed people of all races became central to his political beliefs. Many unions during the 1940s and 1950s were still characterized by segregation. Robeson's close friend, the union activist
Revels Cayton, pressed for "black caucuses" in each union, with Robeson's encouragement and involvement. Domestically and internationally, Robeson enjoyed long friendships with various unions for his devotion to their causes.
Robeson also supported "Camp Wo-Chi-Ca" (Workers' Children's Camp) in New Jersey, an interracial summer camp for working class children established by the International Workers Order. Robeson would visit the camp every summer from 1940 to 1949, singing playing baseball with the children and developing an extensive musical program. In summer of 1949, Robeson also visited the largely Jewish Camp Kinderland in New York.
Mundt-Nixon bill and Smith Act
Robeson opposed
anti-communist legislation. In 1948, he opposed a
bill calling for registration of Communist Party members and appeared before the
Senate Judiciary Committee. Questioned about his affiliation with the Communist Party, he refused to answer, stating "Some of the most brilliant and distinguished Americans are about to go to jail for the failure to answer that question, and I am going to join them, if necessary." (The bill was ultimately defeated in the Senate.) In 1949, he spoke in favor of the liberty of twelve
Communists (including his long-time friend Benjamin Davis, Jr.) convicted under the
Smith Act, which criminalized various left- and right-wing activities as seditious.
Controversies and international travels (1949)
Following a successful U.S. and Caribbean tour during late 1948, Robeson took a Christmas break at the family home in
Enfield, Connecticut, planning to join accompanist Lawrence Brown in the spring of 1949 for scheduled US concert dates. He soon was informed, however, that the performances were canceled by local booking agents whom the FBI had threatened to brand "pro-Communist." For the first time in his professional life, Robeson was without a U.S. concert audience and his recordings were now banned from radio and stores. Robeson had also become the target of conservative journalists
Walter Winchell and
Hedda Hopper. With the United States government and media pressuring the entertainment industry into blacklisting him, in 1949 Robeson had to go overseas to work. Robeson's 1949 tour of Europe, took him to France, Britain, Scandinavia,
Czechoslovakia, Poland and the Soviet Union.
There had been travel conditions put on him by the U.S. State Department upon the renewal of his passport and he signed a waiver to not make any "political or charitable appearances while on tour." Robeson was also under heavy surveillance by the CIA while abroad.
The Paris Peace Congress
As an authorized speaker for the Coordinating Committee of the Colonial Peoples of London, in April 1949, Robeson attended the Paris Peace Congress sponsored by the Soviet Union and by pro-Communist and Communist organizations. There he sang
Joe Hill and spoke extemporaneously about why he thought the progressives in America did not want war. The widely publicized speech caused extreme controversy in the United States when it was misquoted by the
Associated Press. Numerous biographers and historians concur that this one single event signaled the start of Robeson's status as an "enemy" of the United States government and the end of his popularity with mainstream America during the Cold War. A direct translation from the French transcripts of the live audio is as follows,
"We in America do not forget that it was the backs of white workers from Europe and on the backs of millions of Blacks that the wealth of America was built. And we are resolved to share it equally. We reject any hysterical raving that urges us to make war on anyone. Our will to fight for peace is strong. We shall not make war upon the Soviet Union. We oppose those who wish to support imperialism Germany and to establish fascism in Greece. We wish peace with Franco's Spain despite her fascism. We shall support peace and friendship among all nations, with Soviet Russia and the People's Republics. "
What came over the wires to news agencies via the AP in the United States was as follows,
"We colonial peoples have contributed to the building of the United States and are determined to share its wealth. We denounce the policy of the United States government which is similar to Hitler and Goebbels. We want peace and liberty and will combat for them along with the Soviet Union and the Democracies of Eastern Europe, China and Indonesia. It is unthinkable that American Negros would go to war on behalf of those who have oppressed us for generations against the Soviet Union which in one generation has lifted our people to full human dignity. "
Research has shown that AP had put the dispatch on the wires as Robeson was starting his speech. The misquote was very similar in structure to previous Robeson speeches and his questioning at the Mundt-Nixon Bill hearings with the difference being that at the hearing Robeson had claimed to be only speaking for himself. The reaction by the press, both liberal and right wing, in the United States was nearly universal condemnation with radio commentator Walter Winchell broadcasting daily vitriolic attacks at Robeson approved by J Edgar Hoover. ''Jersey Home'' newspaper called for Robeson to be "executed in the electric chair"and Boston Sunday called him "an undesirable citizen", regretting that he had been "U.S. born."
At the urging of the State Department to make a formal statement, NAACP leaders dissociated themselves from Robeson. Roy Wilkins stated that regardless of the number of lynchings that were occurring or would occur, Black America would always serve in the armed forces.
The black-owned ''Chicago Defender'' was one of the few American newspapers willing to question accuracy of the AP bulletin, while the progressive ''National Guardian'' and the Communist ''Daily Worker'' printed quotes of Robeson's speech verbatim.
USSR and Itzik Feffer
In June, he arrived in the Soviet Union, where he participated in celebrating
Alexander Pushkin's 150th anniversary, including performances at
Bolshoi Theatre and Tchaikovsky Hall. According to his son, Robeson was disturbed as to why he could not find his many Jewish friends, most notably
Itzik Feffer, a
Yiddish poet, and
Solomon Mikhoels, an actor and director. As Robeson persisted, the KGB brought Feffer to Robeson who told him that the room was bugged and that Solomon Mikhoels had been murdered by the
NKVD. Feffer also communicated that his own life was in danger. As neither Robeson nor Feffer ever went public about the meeting, the event and its details remains a matter of both conjecture and controversy. During his concert in Tchaikovsky Hall on June 14 - which was broadcast across the entire country - Robeson publicly paid tribute to Feffer and the late Mikhoels, singing the
Vilna Partisan song "
Zog Nit Keynmol" in both Russian and Yiddish. Recordings of the concert survived but Robeson's spoken words are lost.
Back in the United States, Robeson stated that he did not encounter any persecution of Jews and other political prisoners, stating that he "met Jewish people all over the place.... I heard no word about it". Herbert Hill, former labor director of the NAACP, commented on the reputed event fifty years later stating "just think what it would have meant if he had denounced this evil while in the Soviet Union and instead he comes back and he lies, he lies again and again and he knows better." Paul Robeson, Jr. said "he wasn't about to come to the United States and criticize the Soviet Union which in his mind was a barrier to world domination by the right wing of the United States."
Congressional statement by Jackie Robinson
This subsequent controversy over Robeson's remarks in Paris caused the
House Committee on Un-American Activities (HUAC) to investigate Robeson.
HUAC sought Jackie Robinson's testimony on the subject. Robinson was reluctant to testify to HUAC on these matters, in part because of Robeson's prior advocacy on behalf of integration in professional baseball. In July 1949, Robinson eventually agreed to testify before HUAC, fearing that declining to do so might negatively and permanently damage his career. His testimony was a major media event, with Robinson's carefully worded statement appearing on the front page of ''The New York Times'' the following day. While Robeson declined to comment on Robinson personally: "I am not going to permit the issue to boil down to a personal feud between me and Jackie. To do that, would be to do exactly what the other group wants us to do."
Civil Rights Congress and Trotskyists
In January 1949, Robeson led a conference of delegates to march on the White House, again demanding government action against lynching; President Truman refused to see them. Robeson spoke at the "Bill of Rights Conference", in New York, sponsored by CRC, again calling for an end to segregation and lynching. The 1,200 delegates issued a statement which said, in part, "We declare that Robeson does, indeed, speak for us, not only in his fight for full democratic rights, but also in his fight for peace." Robeson also spoke at a mass meeting of 1,500 sponsored by the Civil Rights Congress in support of the
Trenton Six. At a
Bill of Rights Conference in New York in July 1949, Robeson denounced a motion, which called for the freeing of nineteen members of the
Socialist Workers Party convicted in 1941, calling the imprisoned
Trotskyists- who were at odds with the Soviet leadership-"the allies of Fascism who want to destroy the new democracies of the world...let's not get confused, they are the enemies of the working class. Would you give civil rights to the
Ku Klux Klan?" Biographer Martin Duberman wrote, "it was not Robeson's finest hour." On August 4, 1949 Robeson also led a picket line in front of White House, called by
United Public Workers of America to protest racist hiring practices at the Bureau of Engraving and Printing, challenging President Truman to make good on his civil rights promises and enforce the Fair Employment Practices Act.
Peekskill Riots
In 1949, a popular concert by Robeson in
Peekskill, New York, to benefit the
Civil Rights Congress resulted in the Peekskill Riots caused by anti-Communist and anti-civil rights members of local
Veterans of Foreign Wars and
American Legion chapters and also by local residents. The concert, organized as a benefit for the Civil Rights Congress, was scheduled to take place on August 27 in Lakeland Acres, just north of
Peekskill. Before Robeson arrived, a mob of locals attacked concert-goers with baseball bats and rocks. Thirteen people were seriously injured before the police intervened. The concert was postponed until September 4.
The rescheduled event, on September 4, 1949, was attended by 20,000 people and went off without incident but, after the concert, a violent mob, caught on film by the press, chanting "Go back to Russia you white Niggers" and "Dirty Kikes", threw rocks through the windshields of cars and buses. Standing off the angry mob of rioters, some of the concertgoers, and union members, along with writer Howard Fast and others assembled a non-violent line of resistance, locked arms, and sang the song "We Shall Not Be Moved." Some people were reportedly dragged from their vehicles and beaten. Over 140 people were injured and numerous vehicles were severely damaged as police stood by. Following the riots, more than 300 Robeson supporters went to Albany to voice their indignation to Governor Thomas Dewey, who refused to meet with them, blaming "Communists for provoking the violence." Twenty-seven plaintiffs filed a civil suit against Westchester County and two veterans groups. The charges were dismissed three years later. Paul Robeson called the actions of the New York state troopers, who were caught on film beating concert goers, including World War I veteran and first decorated Black aviator, Eugene Bullard, as "Fascist stormtroopers who will knock down and club anyone who disagrees with them" Photographs of Eugene Bullard being beaten by two policeman, a state trooper and concert-goer were later published in Susan Robeson's pictorial biography of her grandfather.
Passport confiscation and Communist associations (1950–1955)
In March 1950,
NBC canceled Robeson's scheduled appearance on former First Lady
Eleanor Roosevelt's television program, ''Today with Mrs. Roosevelt''. A spokesman for NBC declared that Robeson would "never appear on NBC." Press releases of the Civil Rights Congress objected that "censorship of Mr. Robeson's appearance on TV is a crude attempt to silence the outstanding spokesman for the Negro people in their fight for civil and human rights" and that our "basic democratic rights are under attack under the
smoke-screen of
anti-Communism." Protesters picketed NBC offices and protests arrived from numerous public figures, organizations and others.
Passport confiscated
In 1950, the
State Department denied Robeson a passport and issued a "stop notice" at all ports, effectively confining him within the United States. Robeson was not allowed to travel to Canada or Mexico, countries that US citizens could visit without a passport. Far from seeking to revoke his U.S. citizenship and deport him, the FBI and state department records indicate that the US government believed that a blacklisted existence inside the United States borders would offer Robeson less freedom of expression than his presence internationally would. When Robeson and his lawyers met with officials at the State Department on August 23, 1950 and asked why it was "detrimental to the interests of the United States Government" for him to travel abroad, they were told that "his frequent criticism of the treatment of blacks in the United States should not be aired in foreign countries"—it was a "family affair." When Robeson inquired about being re-issued a passport, the State Department declined, citing Robeson's refusal to sign a statement guaranteeing "not to give any speeches while outside the U.S."
In a symbolic act of defiance against the travel ban, labor unions in the U.S. and Canada organized a concert at the International Peace Arch on the border between Washington state and the Canadian province of British Columbia on May 18, 1952. Paul Robeson stood on the back of a flat bed truck on the American side of the U.S.-Canada border and performed a concert for a crowd on the Canadian side, variously estimated at between 20,000 and 40,000 people. Robeson returned to perform a second concert at the Peace Arch in 1953, and over the next two years two further concerts were scheduled. In this period, with the encouragement of his friend the Welsh politician Aneurin Bevan, Robeson recorded a number of radio concerts for supporters in Wales. In 1956, Robeson left the United States for the first time since the travel ban was imposed, performing concerts in two Canadian cities, Sudbury and Toronto, in March of that year. The travel ban ended in 1958 when Robeson's passport was returned to him after eight years of protracted legal struggles and defeats.
"We Charge Genocide" petition
Although unable to travel outside the United States, Robeson continued to be politically active. He presented to the United Nations in New York on December 17, 1951 an anti-lynching petition, "We Charge Genocide". It was also presented to a UN delegation in Paris. The document asserted that the U.S. federal government, by its failure to act against lynching in the United States, was "guilty of genocide" under Article II of the UN Genocide Convention.
"Paul Robeson - the Lost Shepherd"
In 1951 an article titled "Paul Robeson - the Lost Shepherd" was published in ''
The Crisis'', the official magazine of the NAACP, under the pseudonym "Robert Alan", described as "a well known New York journalist". In actuality, the author was NAACP chairman
Roy Wilkins.
J. Edgar Hoover and the United States State Department arranged for the article to be printed and distributed in Africa. Guidelines issued through the US Consulate in Accra, Ghana, on how to deal with Robeson's reputation included the following instructions:
"USIE in the Gold Coast, and I suspect everywhere else in Africa, badly needs a through-going, sympathetic and regretful but straight talking treatment of the whole Robeson episode...there's no way the Communists score on us more easily and more effectively out here, than on the US. Negro problem in general, and on the Robeson case in particular. And, answering the latter, we go a long way toward answering the former. "
Another article by Roy Wilkins, called "Stalin's Greatest Defeat", denounced Robeson as well as the Communist Party of the USA in terms consistent with the FBI's information. In April 1953, shortly after Stalin's death, Robeson penned a eulogy entitled ''To You Beloved Comrade'', praising Stalin as being dedicated to peace and a guidance to the world: "Through his deep humanity, by his wise understanding, he leaves us a rich and monumental heritage."
After Soviet leader Nikita Khrushchev denounced Stalinism at the 1956 Party Congress, Robeson neither publicly denounced nor praised Stalin, though he continued to praise the Soviet Union. In 1956, Robeson, along with close friend W. E. B. Du Bois, compared the anti-Stalinist revolution in Hungary to the "same sort of people who overthrew the Spanish Republican Government" and supported the Soviet invasion and suppression of the revolt.
Robeson is often criticized for accepting the Stalin Peace Prize, eulogizing Stalin, and continuing to support the Soviet Union and not formally denouncing the regime, despite conflicting accounts that show his awareness of state-sponsored intimidation and murder.
Robeson refused pressure to publicly censure the Soviet Union, although it would ostensibly eased his passport restrictions and possibly allowed him back into the mainstream of the entertainment world and the mainstream of the civil rights movement. In his opinion, the existence of the USSR was the guarantee of political balance in the world. Robeson's biographers, including Martin Duberman, Philip S Foner, Scott Allen Nollen, Dr, Charles Wright, Marie Seton, Paul Robeson Jr and Lloyd Brown, argue that he felt that criticism of the Soviet Union by someone of his international standing would only serve to shore up reactionary elements in the U.S. Robeson is on record many times as stating that he felt the "existence of a major socialist power like the USSR was a bulwark against Western European capitalist domination of Africa, Asia and the Caribbean." At no time is Paul Robeson on record of mentioning any unhappiness or regrets about his support for the Soviet Union and his hopes for socialism in Africa and Asia.
Blacklisting and international response (1956–1958)
In 1956, Robeson was called before the
House Committee on Un-American Activities after he refused to sign an affidavit affirming that he was not a Communist. In response to questions concerning his alleged party membership, Robeson insisted that the Communist Party was a legal party and invited its members to join him in the voting booth before he invoked the
Fifth Amendment and refused to respond. Robeson refused to discuss
Joseph Stalin, calling it "a question for the Soviet Union", instead lambasting committee members on
civil rights issues and the enslavement and exploitation of blacks throughout American history. Asked why he had not remained in the Soviet Union, he replied that "because my father was a slave and my people died to build this country, and I am going to stay here, and have a part of it just like you and no fascist minded people will drive me from it! Is that clear?"
"Let Paul Robeson Sing"
Campaigns were simultaneously launched in the USA and UK to protest the passport ban. In the UK, ''The National Paul Robeson Committee'' was formed, sponsored by Members of Parliament as well as writers, scholars, actors, lawyers, trade union leaders and others. The Committee began a "Let Paul Robeson Sing" mass petition, which gathered signatures from tens of thousands of supporters. Over the next four years, many prominent figures in Britain argued for the restoration of Robeson's right to travel. The group held a conference and concert at
St Pancras Town Hall, London headed by
Cedric Belfrage, on May 26, 1957 with Robeson singing direct from New York over a telephone connection.
Trans-Atlantic telephone concert for the Welsh miners
In 1957, Robeson was invited by Welsh miners to be the honored guest at the annual Eisteddfod Music Festival. An appeal to the
Supreme Court of the United States to restitute his confiscated passport had been rejected, but through the newly completed trans-Atlantic telephone hook-up between New York and
Porthcawl, Wales, Robeson was able to sing to the 5,000 gathered there as he had earlier in the year to London. Journalist
Gil Noble called the concert "perhaps the most emotional and moving in Robeson's long concert career."
Disappearance from the media
Because of the controversy surrounding him, Paul Robeson's recordings and films lost mainstream distribution and he was universally condemned in the mainstream U.S press. During the height of the Cold War it became increasingly difficult in the United States to hear Robeson sing on commercial radio, buy his music or to see any of his films, including ''
Show Boat''.
In the United States very little newsreel footage of Robeson now exists, including in the Library of Congress, as the majority of U.S. newsreel footage has been either destroyed or has the sound erased.
Erasure from sports records
The 1950 volume, ''College Football Hall of Fame'', labeled "the most complete record on college football", omits Robeson, identifying only a ten-man team. Martin Duberman wrote that due to his blacklisting within the mainstream media, the concert stage, theater, radio, film and the civil rights movement, Robeson became an outcast, very nearly a
nonperson."
Comeback (1958–1961)
Robeson's autobiography, ''
Here I Stand'', was published by a British publishing company in 1958. As part of his "comeback", he gave two sold-out recitals that month in
Carnegie Hall, which were released on
LP and later on
CD. They were his only stereo recordings.
Also that year, Robeson's 60th birthday was celebrated in several US cities and twenty-seven countries across Europe, Latin America, Asia and Africa, as well as in the Soviet Union. Later, in May 1958, his passport was finally restored and he was able to travel again, after the U.S. Supreme Court ruled, in ''Kent vs. Dulles'', that the Secretary of State had no right to deny a passport or require any citizen to sign an affidavit because of his political beliefs. Robeson and Eslanda moved to the United Kingdom landing there on July 11, 1958 and traveled extensively, using London as their base of operations. During this period Robeson was under constant surveillance by the CIA, MI6 and the State Department.
Tours of Britain and the USSR
In the United Kingdom, Robeson found himself deluged with professional offers. His numerous appearances included a formal concert at the
Albert Hall and a book autographing party at
Selfridges.
In August, 1959 he left for Moscow where he received a tumultuous reception and needed a police escort at the airport. A crowd of eighteen thousand people filled the Lenin Stadium (Khabarovsk) to capacity on August 17, 1959 where Robeson sang classic Russian songs along with his standards. Robeson and Eslanda then flew to Crimea to spend time at Yalta resting, working with a documentary film crew and spending time with Nikita Khrushchev. Robeson also visited Young Pioneer camp Artek before returning to the UK.
On October 11, 1959 Robeson took part in a historic service at St.Paul's Cathedral, being the first black performer to sing there. Four thousand people attended the evensong performance with hundreds overflowing onto the streets. Robeson had then planned to leave for India as a guest of Nehru but was prevented by the weather. The US State Department had circulated negative literature about him through the media in India; one censored CIA memo suggested that Robeson's appearance could be used to thwart the desegregation of a swimming pool.
In 1960, Robeson made his only appearance on a television variety series, a long-running British entry called ''Spectacular''. He was also the host of this episode, entitled ''The Paul Robeson Show''.
On a trip to Moscow, Robeson started to develop bouts of dizziness and the beginning of heart problems. His trip to India was definitively canceled, and he was hospitalized for two months along with his wife Eslanda who was diagnosed with operable cancer.
Wales and final performance of Othello
Robeson recovered and returned to the U.K. to fulfill his engagements.In 1958, he visited the
National Eisteddfod in
Ebbw Vale as the guest of the local MP
Aneurin Bevan, revisited his ties to the black community in Cardiff's
Butetown and gave performances throughout Europe. During his run at the
Royal Shakespeare Company playing Othello in
Tony Richardson's 1959 production at
Stratford-upon-Avon, he befriended actor
Andrew Faulds who's family he was staying with in the nearby village of
Shottery while performing. Robeson inspired him to take up a career in politics after admonishing him for being apolitical. The production of Othello was geared towards Robeson's health concerns but gave him a lucrative seven month run and chance to participate in an updated version of the play directed by
Tony Richardson. In 1960, in what would prove to be Paul Robeson's final concert performance in Great Britain, he sang with the Welsh Male Voice Choir, Côr Meibion Cwmbach, to raise money for the ''Movement for Colonial Freedom'' at the
Royal Festival Hall.
Tour of Australia and New Zealand
Though starting to show the beginning of heart problems and fatigue, Robeson accepted a lucrative tour of Australia, and New Zealand in October to November 1960.
The most notable of his appearances was at the Sydney Opera House, still under construction. Robeson stood on the foundations and sang ''Ol Man River'' and '''Joe Hill''. Many of the workers had him autograph their hard hats following the performance.
Apart from his public concerts, he spoke about unionism and the indigenous peoples of both countries then sang several numbers. Robeson also sang to striking waterside workers in Wellington and accepted membership in their union.
Visiting rural community centers and presented with indigenous art including a painting by Australian artist Albert Namatjira, Davis recalled Robeson's arrival in Perth on the last leg of his tour,
"...when he spotted a group of local aborigines shyly hanging back, he instantly headed for them, moving through the crowd like a full back. When he reached them, he literally gathered the nearest half dozen in his great arms, and when he moved toward his waiting transport, the aborigines moved with him. Davies heard one of the little girls say, almost in wonder, 'Mum, he likes us.'"
Lloyd Davis felt that Robeson's words and gestures during his tour "gave a tremendous boost to the aboriginal cause" and writer and broadcaster
Phillip Adams recalled, Robeson's tour was like "a second coming" to "aspiring young lefties" in Australia.
During this tour for the first time news-sources of diverse political views reported that he was responding to questions at press conferences with "anger and bitterness." Some headlines included ''The Herald'' printing, "Would Back Russia in a War" and "Robeson Bitterly Critical of the U.S.", with the ''Telegraph'' stating "I Wish He Was Still Bosambo."
In Auckland he reputedly told the press he was only "here to sing" and then declared himself a "rigid Marxist.". While expressing concern about the mistreatment of the Māoris Robeson said, "I want to learn Māori songs and as much as I can of the Māori language." and "...the people of the lands of Socialism want peace dearly,"
The nine week tour would prove to be the final concert tour of his forty year career.
Back in London, he began to plan his return to the U.S. to participate in the Civil Rights Movement, stopping off in Africa, China and Cuba along the way. His wife Eslanda argued to stay in London, fearing that he'd be "killed" if he returned to the US and "unable to make any money" due to harassment by the US government. Robeson disagreed and made his own travel arrangements, stopping off in Moscow in March 1961.
Health breakdown (1961–1965)
In spring of 1961, Robeson again traveled to the Soviet Union, his last visit there. During an uncharacteristically wild party in his Moscow hotel room, he locked himself in his bedroom and attempted suicide by cutting his wrists. Three days later, while under Soviet medical care, he told his son that he felt extreme
paranoia, thought that the walls of the room were moving and, overcome by a powerful sense of emptiness and depression, tried to take his own life.
Robeson stayed at the Barvikha Sanatorium until September 1961, when he left Moscow for London. There his depression re-emerged, and after another period of recuperation in Moscow, he returned to London. Three days after arriving back he became suicidal and suffered a panic attack while passing the Soviet Embassy. He was admitted to The Priory hospital, where he underwent electroconvulsive therapy (ECT) and was given heavy doses of drugs for nearly two years, with no accompanying psychotherapy.
During his treatment at the Priory, Robeson was being monitored by the British MI5. Both U.S. and British intelligence services were well aware of Robeson's suicidal state of mind. An FBI memo described Robeson's debilitated condition, remarking that his "death would be much publicized" and would be used for Communist propaganda, making continued surveillance imperative. Numerous memos also advised that Robeson should be denied a passport renewal which would ostensibly jeopardize his fragile health and the recovery process he was engaged in overseas.
During his convalescence, while receiving outpatient treatment, he spent frequent periods at his Connaught Square flat with Eslanda. In August 1963, disturbed about his treatment, friends had him transferred to the Buch Clinic in East Berlin. Given psychotherapy and less medication, his physicians found him still "completely without initiative" and they expressed "doubt and anger" about the "high level of barbiturates and ECT" that had been administered in London. He rapidly improved, though his doctor stressed that "what little is left of Paul's health must be quietly conserved."
Paul Robeson, Jr. argued for years that his father's health problems stemmed from attempts by CIA and MI5 to "neutralize" his father. He remembered that his father had such fears prior to his prostate operation. He said that three doctors treating Robeson in London and New York had been CIA contractors, and that his father's symptoms resulted from being "subjected to mind depatterning under MKULTRA", a secret CIA programme. Martin Duberman's view was that given the most available evidence, Paul Robeson's health breakdown was brought on by a combination of factors including extreme emotional and physical stress, bipolar depression, exhaustion and the beginning of circulatory and heart problems. Duberman added that "even without an organic predisposition and accumulated pressures of government harassment he might have been susceptible to a breakdown".
Later years (1966–1976)
In 1963, Robeson eventually returned to the United States and for the remainder of his life lived in quiet seclusion. He had intended to assume a role in the
civil rights movement, making a few major public appearances before falling seriously ill during a tour, nearly dying from double pneumonia and a kidney blockage in 1965. He first lived in Harlem with his wife. After Eslanda died of cancer in December 1965, Robeson moved in with his son's family in an Upper West Side apartment in New York City and in 1968, he finally settled at
his sister's home in
Philadelphia.
In these years Robeson was honored by accolades and celebrations, both in the U.S. and internationally, including public arenas that had previously shunned him.
Civil Rights figures
On January 15, 1965, Robeson gave the eulogy at the Harlem funeral of
Lorraine Hansberry recalling her work at
Freedomways and her contributions to civil rights.
Malcolm X was one of those who attended the funeral. The two men did not meet on that occasion, but Malcolm X, who admired Robeson, subsequently approached
Paul Robeson, Jr. about arranging a meeting. (According to
Ossie Davis, he was also approached by Malcolm X's intermediaries in hopes of meeting Robeson.) Robeson agreed, but Malcolm X was assassinated before the meeting could be arranged.
Following Hansberry's funeral, Robeson was also contacted by both Bayard Rustin and James L. Farmer, Jr. about the possibility of becoming involved with the mainstream of the Civil Rights movement. Due to Rustin's past anti-Communist stances, Robeson declined to meet with him. Robeson eventually met with Farmer but was asked to denounce Communism and the Soviet Union in order to assume a place in the mainstream, Robeson adamantly declined.
Life in Philadelphia
Living at his sister Marian's home Robeson saw few visitors aside from very close friends and gave few statements apart from a few messages to support current civil rights and international movements, feeling that his record "spoke for itself". Though due to his ailing health, he withdrew from the public to lead a quiet life, close friends and family have disputed the rumors in the mainstream press that he was "broken" and "disillusioned". In her book ''Paul Robeson's Last Days in Philadelphia'', Charlotte Turner Bell, a local music teacher and Robeson friend chronicled the time she spent accompanying Robeson on the piano each Sunday and of his life in retirement.
Birthday celebrations
In 1968, events were held all over the world in honor of Paul Robeson's 70th birthday including a three day celebration in East Germany. There was also an evening of music and poetry in London at the
Royal Festival Hall featuring
Mary Ure,
Peggy Ashcroft,
Peter O'Toole and
Michael Redgrave. In
Moscow, speakers included the writer
Boris Nikolaevich Polevoy and the poet
Mikhail Kotov. The black commission of the CPUSA celebration remarked that "the white power structure has generated a conspiracy of silence around Paul Robeson. It wants to blot out all knowledge of this pioneering Black American warrior..."
More than 3,000 people gathered in Carnegie Hall to salute Robeson's 75th birthday in 1973, including Attorney General Ramsey Clark, Pete Seeger, Odetta, Angela Davis, Dolores Huerta, Dizzy Gillespie, Sidney Poitier, Harry Belafonte (who also produced the show), James Earl Jones, Ossie Davis, Ruby Dee, and Coretta Scott King; birthday greetings arrived from President Julius K. Nyerere of Tanzania, Prime Minister Michael Manley of Jamaica, President Cheddi Jagan of Guyana, President Kenneth Kaunda of Zambia, Indira Gandhi and the African National Congress. Robeson was unable to attend because of illness, but a taped message from him was played which said in part, "Though I have not been able to be active for several years, I want you to know that I am the same Paul, dedicated as ever to the worldwide cause of humanity for freedom, peace and brotherhood."
Death and funeral service
On January 23, 1976, in
Philadelphia, Pennsylvania, at the age of 77, Paul Robeson died of a stroke following "complications from a 'severe cerebral vascular disorder.'" He lay in state for a viewing at Benta's Funeral Home in
Harlem for two days. His granddaughter, Susan Robeson, recalled "...watching this parade of humanity who came to pay their respects...from the numbers runner on the corner to
Gustaf VI Adolf, King of Sweden."
Condolences came from around the world, including Coretta Scott King, who deplored "America's inexcusable treatment" of a man who had had "the courage to point out her injustices." According to Robeson biographer, Martin Duberman:
"The white press, after decades of harassing Robeson, now tipped its hat to a 'great American,' paid its gingerly respect in editorials that ascribed the vituperation leveled at Robeson in his lifetime to the Bad Old Days of the Cold War, implied those days were forever gone, downplayed the racist component central to his persecution, and ignored the continuing inability of white America to tolerate a black maverick who refused to bend. The black press made no such mistakes. It had never, overall, been as hostile to Robeson as the white press, (though at some points in his career, nearly so)."
The black press universally celebrated Robeson, with ''The Amsterdam News'' eulogizing him as "Gulliver among the Lilliputians" and saying his life would "always be a challenge and a reproach to white and Black America."
On January 27, 1976, 2,500 people attended Paul Robeson's funeral at Mother AME Zion Church in Harlem, where Robeson's brother Ben had been pastor for 27 years. Thousands more, mostly African Americans, stood outside in the rain throughout the service, listening on the public address system as speakers, including Harry Belafonte, paid tribute. Robeson was cremated and his ashes were interred in the Ferncliff Cemetery in Hartsdale, New York with a grave marker that states, "The Artist Must Fight For Freedom Or Slavery. I Made My Choice. I Had No Alternative."
Legacy
Along with
Langston Hughes,
Richard Wright and
Josephine Baker, Robeson was one of the first African American artist/activists. He is also one of the forerunners of the civil rights movement and the first black artist to refuse segregated audiences. During the 1960s radical black activists such as Malcolm X and members of SNCC referenced and praised Robeson's controversial stances. On the international political scene, Robeson's legacy included influences on the African Independence movements and his work was cited by
Nobel Peace Prize winner
Nelson Mandela, Kenyan president Jomo Kenyatta and Ghanaian president Kwame Nkrumah and other post-colonialist leaders.
American Jews continue to celebrate his memory as an ally, as do the people of Wales. In the arts, his popularizing of Negro Spirituals has been cited and paid tribute to by singers including Sir Willard White. While film industry figures and historians have written of his groundbreaking work in cinema as the first major black actor unwilling to play stereotypes.
Paul Robeson Archives
The Paul Robeson Archive was established in
East Berlin in 1965. Robeson was a popular figure in
East Germany, where he received an
honorary doctorate from
Humboldt University in 1960 among other awards. The archives were founded by Victor Grossman, a journalist for GDR radio and are now located at the John F. Kennedy School in Berlin. Due to meticulous collecting by Eslanda Robeson, over 55,000 pieces of Robeson related memorabilia, film, books, photos and ephemera were archived and cataloged into "The Paul and Eslanda Robeson Archives". The collection is held at the Moorland-Spingarn Research Center,
Howard University.
Omission from and restoration to historical records
Due to Robeson's lengthy and extensive blacklisting during the 1950s, his long career and achievements are difficult to find in most American mainstream interpretations of history, including in-depth books on sports history, entertainment, civil rights and black history. In the United States very little media footage of Robeson now exists, even in the Library of Congress, as the majority of U.S. newsreel footage has been either destroyed or had the sound erased.
Despite Robeson's lengthy theater career, Brooks Atkinson, ''The New York Times'' theater critic from 1925 to 1960, included just a one-sentence reference to Robeson in his 1970 book ''Broadway'', advertised as "an in-depth history of American theater". Atkinson chronicles African-American performers, ''Show Boat'' and Eugene O'Neill, but only mentions Robeson briefly in context with ''Othello''. In the early 1970s, ''The New York Times'' and ''The New York Daily News'' both ran extensive pieces on black actors who played Othello with no mention of Robeson.
In 1967, ''The New York Times'' also incorrectly said that during the 1950s (when he was without his passport), Robeson had chosen a "long exile in the Soviet Union...." Robeson's name was also not listed in the American edition of Marquis Who's Who, appearing in only the international editions. In the early 1970s, Rutgers professor Eugene H. Robinson found that Robeson was not mentioned in nine different American encyclopedias. Professor Harold Weaver estimated that 75% of black students at Rutgers did not know who Robeson was.
In 1949, Robeson's name had been retroactively struck from the roster of the 1917 and 1918 college All-America football teams. In 1995, 45 years after its erasure, Robeson's name was fully restored to the Rutgers University sports records and he was named to the College Football Hall of Fame.
Posthumous honors
1970s
The first memorial following Robeson's 1976 funeral was a tribute held in US House of Representatives January 28, 1976. Throughout 1976 memorials were held at Rutgers; The World Peace Council in
Athens, Greece;
Columbia University, New York City; Toronto;
Shiloh Baptist Church in Washington, D.C.; and by
Actor's Equity in Los Angeles. On October 8, 1976, Artist's Tribute to the Life of Paul Robeson, was held at Carnegie Hall, as a benefit for the
Paul Robeson Archive.
Sidney Poitier proclaimed, "When Paul Robeson died, it marked the passing of a magnificent giant whose presence among us conferred nobility upon us all..." In 1979 Poitier narrated a short, winning film, ''Paul Robeson: Tribute to an Artist''. Directed by
Saul J. Turell, it won an
Academy Award for best short documentary.
In 1976 NBC approached Paul Robeson, Jr. asking permission to create a three hour documentary on his father. Robeson, Jr. turned down the request, regarding it as offensive given their treatment of his father during his lifetime.
On September 6, 1977 the Paul Robeson High School opened at 6835 South Normal Boulevard in Chicago, Illinois.
Beginning in 1978, Paul Robeson's films were finally shown again on American television, with ''Show Boat'' making its cable television debut in 1983. In recent years, all of Robeson's films have appeared on Turner Classic Movies and American Movie Classics channels.
Also in 1978, the former "Stolpestrasse" in East-Berlin, Germany, was renamed Paul-Robeson-Strasse in honor of the popular performer. To this day (2011), it is still named so.
1990s
On January 18, 1995 Paul Robeson was inducted into the
College Football Hall of Fame, a step taken by the
National Football Foundation which many called "long-overdue". Rutgers-Newark also honored him posthumously by naming the student-life campus center, and art gallery after him. and
Rutgers University New Brunswick Campus named one of their cultural centers, The Paul Robeson Cultural Center. and the
Rutgers-Camden campus also named their library, the Paul Robeson Library.
During the centenary of Paul Robeson's birth in 1998, around the world, over four hundred celebrations took place with over twenty Robeson centennial events held in the San Francisco Bay area alone. These included film showings, musical and educational programs, art exhibitions, a two-hour PBS documentary, as well as the presentation of the Lifetime Achievement Grammy Award. President Bill Clinton sent a greeting to celebration of the Robeson Centennial in Westchester County, New York, stating: "A century after Paul Robeson's birth, we live in a nation that is stronger because of his vision and eloquent voice."
In 1998 the San Francisco Bay Area Post of the Veterans of the Abraham Lincoln Brigade presented "Paul Robeson: The Artist Must Take Sides" in tribute. The program consisted of a dramatic performance by the San Francisco Mime Troupe, with slides and commentary, and keynote speaker Professor Sterling Stuckey. Paul Robeson's image is also featured prominently in a historical monument dedicated to the Abraham Lincoln Brigade which was unveiled on The Embarcadero, San Francisco in 2008 by actor Peter Coyote.
2000s
Robeson has remained a celebrated cultural figure in Wales. The exhibition ''Let Paul Robeson Sing!'' was unveiled in
Cardiff in 2001. A number of Welsh artists have celebrated Robeson's life: the
Manic Street Preachers' song "
Let Robeson Sing" appears on the album ''Know Your Enemy''.
Martyn Joseph's song "Proud Valley Boy" on his 2005 album ''Deep Blue'' is also based on Robeson's Welsh connections. In 2010 Susan Robeson launched a project by
Swansea University and the
Welsh Assembly, to create an online learning resource in her grandfather's memory.
An English Heritage Blue Plaque was unveiled in 2002 at the house in Hampstead, London where Robeson resided during the 1920s and 1930s.
In 2004 Paul Robeson was featured on a US postage stamp, the 27th stamp in the Black Heritage Series. The Stamp Unveiling Ceremony was held at Princeton University, with Paul Robeson, Jr. participating.
In 2006 a Tribute to Paul Robeson was held at the School of Oriental and African Studies.
On September 26, 2009, Edgecombe Avenue and 160th Street in Washington Heights, Manhattan, were renamed as Paul Robeson Boulevard and Count Basie Place.
In August 2011, Tayo Aluko's one-man play "Call Mr. Robeson" was featured in the New York International Fringe Festival. It will be performed in New York's Carnegie Hall on February 12, 2012.
Published works
''Here I Stand''. Beacon Press (1958), 1971 edition with Preface by Lloyd L. Brown. 1988 edition with an Introduction by Sterling Stuckey. ISBN 0-8070-6445-9 ISBN 0-304-70351-6
''Paul Robeson Speaks: Writings, Speeches, Interviews, 1918–1974'', edited with an introduction by Philip S. Foner, Brunner, 1978.
''Paul Robeson: Tributes, Selected Writings'', compiled and edited by Roberta Yancy Dent with the assistance of Marilyn Robeson and Paul Robeson, Jr., The Archives, 1976.
"The Great Forerunner" in ''Freedomways'', 1971; Dodd, 1978; enlarged, 1985.
Filmography
''Body and Soul'' (1924)
''Camille'' (1926)
''Borderline'' (1930)
''The Emperor Jones'' (1933)
''
Sanders of the River'' (1935)
''Show Boat'' (1936)
''Song of Freedom'' (1936)
''Big Fella'' (1937)
''My Song Goes Forth'' (1937)
''King Solomon's Mines'' (1937)
''Jericho/Dark Sands'' (1937)
''The Proud Valley'' (1940)
''Native Land'' (1942)
''Tales of Manhattan'' (1942)
''The Song of the Rivers'' (1954)
Notes
References
Bogle, Donald (2001). ''Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films'', Fourth Edition
Boyle, Sheila Tully, and Andrew Bunie (2001). ''Paul Robeson: The Years of Promise and Achievement''. University of Massachusetts Press ISBN 1-55849-149-X
Brown, Lloyd (1998) ''On My Journey Now: The Young Paul Robeson'' Basic Books ISBN 0-8133-3177-3
Duberman, Martin Bauml (1988). ''Paul Robeson'' Alfred A. Knopf, 1988. Also Reissue edition (1995) New Press. ISBN 1-56584-288-X.
Foner, Henry (2001). ''Paul Robeson: A Century of Greatness''
Foner, Philip S. (1978). ''Paul Robeson Speaks: Writings, Speeches, and Interviews, a Centennial Celebration''. Citadel Press; Reprint edition (September 1, 1982). 644 pages. ISBN 0-8065-0815-9.
Ford, Carin T (2001). ''Paul Robeson: "I Want to make Freedom Ring"''. Enslow Publishers
Goudsouzian, Aram. (2004). ''Sidney Poitier: man, actor, icon''. University of North Carolina Press
Naison, Mark (1998). "Paul Robeson and the American Labor Movement" in Stewart, Jeffrey C. (ed.) ''Paul Robeson: Artist and Citizen''. Rutgers University Press and The Paul Robeson Cultural Center. ISBN 0-8135-2510-1 ISBN 0-8135-2511-X
Nollen, Scott Allen (2010). ''Paul Robeson: Film Pioneer.''. McFarland. ISBN 0-7864-3520-8
Robeson, Eslanda. ''Paul Robeson, Negro'', V. Gollancz; 1st edition (1930) ASIN: B0006E8ML4
Robeson, Paul, Jr. (1971) "Paul Robeson: Black Warrior", in Freedomways ''The Great Forerunner'', pages 3–16
Robeson Paul, Jr. (2001) ''The Undiscovered Paul Robeson, An Artist's Journey, 1898-1939''. Wiley. ISBN 0-471-24265-9
Robeson Paul, Jr. (2010) ''The Undiscovered Paul Robeson, Quest for Freedom, 1940-1976''. Wiley. ISBN 0-471-40973-1
Robeson, Susan (1981). ''The Whole World in His Hands: A Pictorial Biography of Paul Robeson'' Citadel Press; 1st edition ISBN 0-8065-0754-3
Robinson, Eugene H. (1971) "A Distant Image: Paul Robeson and Rutgers' Students", in Freedomways ''The Great Forerunner'', pages 178–188.
Seton, Marie (1958). ''Paul Robeson''. D. Dobson.
Smethurst, James Edward (2005). ''The Black Arts Movement: literary nationalism in the 1960s and 1970s''. University of North Carolina Press
Harris, Francis C. (1998) "Paul Robeson: An Athlete's Legacy" in Stewart, Jeffrey C. (ed.) ''Paul Robeson: Artist and Citizen''. Rutgers University Press and The Paul Robeson Cultural Center. ISBN 0-8135-2510-1 ISBN 0-8135-2511-X
Wright, Charles (1975) ''Paul Robeson: Labor's Forgotten Champion''. Balamp Pub Co. ISBN 0-913642-06-1
Turner, Charlotte (1986). ''Paul Robeson's Last Days in Philadelphia''
Further reading
Balaji, Murali. ''The Professor and the Pupil: The Politics and Friendship of W. E. B. Du Bois and Paul Robeson'' (Nation Books, 2007) ISBN 1-56858-355-9
Dorinson, Joseph and William Pencak with foreword by Henry Foner. ''Paul Robeson: Essays on His Life and Legacy'' (Oct 15, 2004) ISBN 0-7864-1153-8
Du Bois, Shirley Graham. ''Paul Robeson, Citizen of the World.'' (Julian Messner, June 1, 1971) ISBN 0-671-32464-0; (Greenwood Pub Group, January 1, 1972) ISBN 0-86543-468-9; (Africa World Pr, January 1, 1998), ISBN 0-86543-469-7; (Africa World Pr, April 1, 1998), ISBN 0-8371-6055-3
Dyer, Richard. ''Heavenly Bodies: Film Stars and Society'' (London: British Film Institute, 1986; Routledge, 2003, 2nd ed.) ISBN 0-415-31026-1 Robeson is one of the three film stars profiled.
Holmes, Burnham. ''Paul Robeson: A Voice of Struggle (Heinemann Library, September 1, 1994) ISBN 0-8114-2381-6
Larsen, Rebecca. ''Paul Robeson: Hero Before His Time'' (Franklin Watts, September 1, 1989), ISBN 0-531-10779-5
McKissack, Pat, Fredrick McKissack and Michael David Biegel (illustrator). ''Paul Robeson: A Voice to Remember''. Library (Enslow Pub Inc, May 1, 2001), ISBN 0-89490-310-1
Nash, Elizabeth. "Autobiographical Reminiscences of African-American Classical Singers, 1853-Present".(Edwin Mellen Press, 2007). ISBN 0-7734-5250-8.(192-194, 438-445)
Rappaport, Louis. ''Stalin's War Against the Jews: The Doctors Plot & The Soviet Solution'', Free Press (October 1, 1990) ISBN 0-02-925821-9
Reiner, Carl. ''How Paul Robeson Saved My Life and Other Mostly Happy Stories'' (Cliff Street Books, October 1, 1999), Cassette/Spoken Word (Dove Entertainment Inc, October 1, 1999). ISBN 0-06-019451-0
Stuckey, Sterling. ''I Want to Be African: Paul Robeson and the Ends of Nationalist Theory and Practice, 1919–1945'' (Univ of California Center for Afro, June 1, 1976) ISBN 0-934934-15-0
Wright, David K. ''Paul Robeson: Actor, Singer, Political Activist'' (Univ of California Center for Afro, June 1, 1976) ISBN 0-934934-15-0
Film documentaries about Robeson
''The Tallest Tree in Our Forest'' (1977)
''Paul Robeson: Tribute to an Artist'' (1979)
''Paul Robeson: Speak of Me As I Am'' (1998)
''Paul Robeson: Here I Stand'' (1999) PBS ''American Masters'', directed by St. Clair Bourne
External links
Paul Robeson digital archive at Rutgers University
Testimony of Paul Robeson before the House Committee on Un-American Activities, June 12, 1956
Bay Area Paul Robeson Committee, non profit informational resource for Robeson
The FBI Files of Paul Robeson
Paul Robeson Biography, The Civil Rights Struggle, African American GIs, and Germany
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