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Uninvited callers: Activists confront United Daughters of the Confederacy

As the United Daughters of the Confederacy gathered in Richmond last week for its annual convention, members were met with some unexpected visitors.

Around four dozen demonstrators from Charlottesville and Richmond, many of them wearing hats, pearls, and white gloves, stood outside the UDC’s mausoleum-like headquarters on the BoulevardNovember 4. They came to accuse the bastion of genteel Southern womanhood of perpetuating white supremacy through the Lost Cause narrative in textbooks, Confederate monuments, and an early alliance with the Ku Klux Klan.

The ladies were scheduled to convene at their headquarters to dedicate a flagpole and plaque, but they canceled the event when they got word that activists—”outside agitators” is how Virginia Flaggers describe them—planned to show up.

Protesters carried signs that read, “Even white people are tired of white supremacy,” “UDC: Take back your statues and your booKKKs,” and “No shrines to white supremacy. Take ‘em down now.”

A demonstrator holds a sign with an image of a book extolling the KKK written by one of the Daughters of the Confederacy. Eze Amos

The United Daughters of the Confederacy erected hundreds of Confederate monuments across the South, including the recently toppled Silent Sam in Chapel Hill and one of a soldier—the “Johnny Reb” statue— in Charlottesville’s Court Square in 1909, which the city and Albemarle jointly funded along with the local chapter, according to the Encyclopedia Virginia. A petition is circulating now to remove that statue.

And they’ve been known to sue when localities try to remove them. The Daughters’ Shreveport, Louisiana, chapter filed suit when the parish tried to remove a statue in front of the courthouse after last year’s Unite the Right rally in Charlottesville. And the UDC sued Vanderbilt University in 2002 when it wanted to rename a dorm called Confederate Memorial Hall.

“The UDC are the ladies behind the Lost Causelie,” says activist and UVA religious studies professor Jalane Schmidt. They are the ones who “littered the landscape” with hundreds of Confederate statues—and who sue if localities try to remove them. They got textbooks into schools that “poisoned the minds of generations of white Southerners,” she says, and normalized “white supremacy as ‘heritage.’”

Protester and Charlottesvillian Anne Garland Mahler, dressed in a peach dress with hat and white gloves, says, “We’re taking our Southern heritage back.”

The UDC was founded in 1894—almost 30 years after the Civil War had ended. Reconstruction was over and Jim Crow laws were reasserting white supremacy. The organization’s members say its mission is to honor the memory of those who fell during the “War Between the States,” as proponents of the Lost Cause narrative prefer to dub the Civil War, as well as historical, educational, benevolent, and patriotic efforts.

But activists say the group quietly has done more to spread white supremacy than other more flagrantly racist organizations with its recasting the history of the war the South lost into a noble Lost Cause myth. In 1914, one of its members, Laura Martin Rose, aka Mrs. S.E.F. Rose, praised the KKK in her book, The Ku Klux Klan or Invisible Empire. Schmidt brought copies of that tome to return to the UDC.

On Sunday, three Daughters of the Confederacy braved the crowd to check out the demonstrators, and one asked who the organizer was. Another proclaimed, “I’ve never encountered such hatred.”

A few Daughters of the Confederacy emerged from their headquarters to check out the demonstration, and were “mad as heck about it,” according to Richmond Democratic Socialist Trey Peters. Eze Amos

UDC member Peggy Palmer from South Carolina declared, “It’s a bunch of bullcrap,” and said the demonstrators didn’t know their history.

But she seemed unaware of a 1926 UDC plaque honoring the KKK outside Charlotte, North Carolina, that was reported in a Daily Beast article—”Time to expose the women still celebrating the Confederacy”—that ran the same day, and she asked a reporter and a couple of protesters where the plaque was.

Trey Peters with the Richmond chapter of Democratic Socialists of America talked to Palmer, and he describes the reaction of the Daughters as one of “indignation. They were very unhappy with our demonstration.”

The ladies recently got into a feud with Virginia Humanities’ Encyclopedia Virginia about its entry on the UDC that documents its role in white supremacy. Ginger Stephens, the president of the Virginia Division of the United Daughters of the Confederacy, urged members to write the encyclopedia to correct its “negative article” on the organization.

Editor Brendan Wolfe responded with an article titled “United Daughters of the Confederacy & White Supremacy” to explain how the ladies’ seemingly benevolent work to care for Confederate widows, raise funds for monuments, and sponsor essay contests for white students turned the Lost Cause narrative into a “nostalgic elevation of a society the foundation of which was the violent enslavement of other human beings.”

Under the Lost Cause, the Civil War was not about slavery, but about states’ rights. African Americans wrenched from their families and homeland in chains were portrayed as better off as slaves under well-meaning masters who introduced them to Christianity.

“By asserting that slavery was not that bad and that white people had always acted honorably and in the best interests of blacks, the Lost Cause became an argument for a society in which white people belonged at the top of the order and blacks at the bottom,” writes Wolfe.

“That’s white supremacy.”

Stephens did not immediately respond to a request for comment, nor did four other Daughters of the Confederacy contacted by C-VILLE.

Several of the demonstrators also are descended from Confederates—and they weren’t celebrating that legacy. Richmonder Pat Bjork and her sister, Martha Wright, carried signs noting their great-grandfather was a Confederate doctor. “Honoring Confederates is not ‘history,’ it’s wrong,” says Wright’s sign, and both urged resistance to white supremacy.

Some descendants of Confederates aren’t proud of a heritage the enslaved African Americans, like sisters Pat Bjork and Martha Wright. Staff photo

Schmidt considered the Daughters’ cancellation of their dedication a success for the demonstrators. “The Lost Cause needs to be lost once and for all.” she says.

 

 

Categories
Arts

Brendan Wolfe delves into the world of a jazz legend

If you have never heard of Bix Beiderbecke, the unlikely jazz legend from a Midwestern, German-American family, listen to his tunes on YouTube or Spotify and you’ll want to know more. Dig deeper and you’ll learn that cornet soloist and pianist Leon Bismark “Bix” Beiderbecke was born in Davenport, Iowa, in 1903 and died in Queens, New York, of alcoholism and lobar pneumonia just 28 years later.

But his spirit lives on in his hometown—at the annual Bix Beiderbecke Memorial Jazz Festival—which is where Brendan Wolfe, author of Finding Bix: The Life and Afterlife of a Jazz Legend, first encountered him.

Blank vertical book cover template with pages in front side standing on white surface  Perspective view. Vector illustration.

Wolfe, managing editor of the Encyclopedia Virginia website, grew up in Davenport. An aspiring writer and historian, he says he “was really into history and I would sit at the dining room table and write a novel about Valley Forge or a comic strip about D-Day.” Wolfe attended the University of Iowa for undergraduate and graduate school, and it was there that he started writing about music. This month his first book, Finding Bix, hits bookstores and becomes a part of the bibliography about the elusive cornet player.

Thanks to the preservation of historical documents and correspondence, certain details of Beiderbecke’s life can be sketched out. We know that he was expelled from a boarding school in Chicago at age 19. He was often described by friends as being slovenly, the creative genius who couldn’t remember, or didn’t care, to change his clothes. We know from reviews of his playing that he was appreciated in his own time. After hearing Beiderbecke perform a solo with Paul Whiteman’s band, Louis Armstrong wrote, “I’m telling you, those pretty notes went all through me.”

During his most prolific period Beiderbecke maintained a grueling schedule. He consumed too much alcohol, had at least two nervous breakdowns, went to rehab, turned to alcohol again and died young. We also know that at age 18 Beiderbecke was accused of cornering a sight-impaired 5-year-old girl in a garage and demanding that she show herself to him. He was arrested and held on a $1,500 bond, the charge dropped only after the girl’s father determined it would be detrimental to her to testify.

Wolfe examines all of these accounts in detail, but rather than trying to create a definitive portrayal of Beiderbecke, he is more interested in exploring the musician’s blurry edges, often challenging the authoritative tone of previous claims by other scholars. (He even becomes the first Beiderbecke historian to discover that a 1929 feature in the Davenport Democrat was largely plagiarized, including the quotes it attributed to Beiderbecke.) “[Finding Bix] is almost a meta biography of Beiderbecke,” Wolfe says, “a story of all the stories and how they’ve been told and what they add up to and what kind of meaning we can make of it.”

Essential Bix Beiderbecke

“I’m Coming Virginia” Originally recorded in September 1926 by African-American vocalist Ethel Waters. Beiderbecke recorded his take, with Frankie Trumbauer on C-melody sax, in May 1927.

“In a Mist” This 1927 cut is one of two Beiderbecke recordings where he is playing an original composition. As the story goes, when asked what he wanted to title the piano solo, Beiderbecke responded, “Dunno. I’m in a fog.” After a slight revision, the title stuck.

“Singin’ the Blues” This tune was first recorded by the Original Dixieland Jazz Band in 1920. Beiderbecke laid down his version with Frankie Trumbauer on C-melody sax and Eddie Lang on guitar in 1927.

Within the narrative of this meta biography, Wolfe becomes a character himself. “I thought of myself like a film documentarian,” he says, “putting the camera on my shoulder and going out and engaging people and engaging the material.” He is at heart an essayist, and his writing tends to ruminate on a question or, in the case of Beiderbecke, many questions. How and why do we create narratives about artists that elevate them to legends and distort or deny reality? How do we reconcile an artist’s flawed and sometimes ugly character with the soul-stirring art he creates? Does commerce sully art? What does it mean to sell out? Are artists by nature self-destructive? “Ultimately that’s what kept my interest with Beiderbecke,” Wolfe says, “…how any argument you want to have you can put him in the middle of it.”

“The problem with Beiderbecke’s multitudes, though,” Wolfe writes in the book, “is that they can sometimes cancel each other out so that, voilà! Beiderbecke disappears.” Wolfe likens the nature of Beiderbecke to the music he creates: “Jazz isn’t here to stay; it’s here to disappear. …Which is why I think it’s the perfect music for Beiderbecke.” But Wolfe is comfortable with the possibility that aspects of Beiderbecke’s life and character remain ambiguous. “The pleasure comes, both as a writer and a reader, not in reaching a conclusion but in engaging the question,” says Wolfe.