Betty s place manassas va newspaper
Published 13.11.2020 в Mohu leaf placement tips for better
BETTY P. MICHAEL, age 75 of Manassas, Virginia passed away Friday, October 19, at Fairfax Nursing Center, Fairfax, Virginia. Betty introduces the main park film "Home Front Heroes", which is played in its entirety. Please enjoy Betty's reflections on her life and experiences. Betty's Place Inc. Van Doren Rd., Manassas, VA Be the first to write a review. For information about senior living. MONYX CRYPTOCURRENCY
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Julia C. Culpeper, VA Susuan K. Charlottesvle, VA Joann M. Leesburg, VA Argertha W. Clarksville, VA Elizabeth M. Culpeper, VA Barbara C. Marsha D. Chantilly, VA Judy L. Kenbridge, VA Mary B. Roanoke, VA Steven S. Richmond, VA Barbara T. Wytheville, VA Roger G. Deltaville, VA Mr. Lawrence D. Ashburn, VA Jean G. Willis, VA Janice S. Martinsville, VA Roy W.
Osamu A. Alexandria, VA Elmon C. Christiansbrg, VA Ms. Christine M. Midlothian, VA Oljan R. Barbara W. Yorktown, VA Ms. Patricia A S. John W. Roberta F. Margaret M. Grace R. Falls Church, VA Ms. Brenda B. Herndon, VA Karen M. I just knew that over about two and a half or three year period, on occasion we'd receive from the filmmakers who are at Harpers Ferry on the east coast and 'cause we were on the west coast and they'd send us a block of text to be wordsmithed or we'd get stills from the library of congress or the national archives, and I'd say okay.
But I was really in over my head. I had no idea what this finished product was gonna be. It was of somebody had sent me a box of tiles and told me that in that box was a sunset over the Golden Gate Bridge. I mean, how do you know? When the film was finally released to us finished, just before the opening of the Vidger Center and I saw it for the first time, it may interest you to know that I was disappointed.
I didn't like it at all. Partly because the history as I had lived it was nowhere in sight. Not anywhere in sight. But if you're gonna try to tell a story with as many moving parts as this story had, in 15 minutes, what do you do? You go for the Hollywood ending. And we all got together for the sake of democracy and we set our differences aside, and he built the ships and we won the war, and that tends to be pretty much the way history gets written. And our filmmakers hadn't resisted that temptation.
And that's what they had done. The real truth was that I was here I was here in Richmond. I was a 20 year-old young woman of color, working in a temporary building somewhere in the middle of Richmond. Somewhere, some people say it was the 17th and Nevin. Others say it was 37th. I've never been certain, but it was torn down immediately when the war ended.
So I'm not sure where it was. The reason I was working there was because this would have been at least a decade before the labor movement would be racial integrated. And in order to comply with the demands of the Maritime Commission, the Labor Union had created auxiliaries. One at Marinship in Sausalito. Into which all the black workers were dumped. Jim Crow was really the other name for auxiliary. Came in everyday in a carpool, no where near the shoreline.
I lived in Oakland, I mean, I'm sorry in Berkeley. Came in everyday in a carpool no where near the shoreline. Never saw a ship under construction, never saw a ship being launched. If you'd ask me at the time, I'd of told you that all the shipyard workers were black.
Because the only people I saw were the people who came up to my window to have their addresses changed, which was what I was doing on three by five file cards to save the world for democracy. As you can see it worked. It's also true that I had know idea what that larger story was. It simply had not, I'd never experienced it. Not for one minute. But if you'd known me, two years before then you've known little Betty Charbonnet, a Cajun Creole child growing up in Oakland, East Oakland where I had arrived in year as a six year old.
That was the year that the City Fathers in New Orleans which was our ancestral home, chose to bomb the levees against the rising Mississippi, to save Saint Charles Avenue and the Garden District, and they sacrificed the seventh and ninth wards and the Treme, which was our home.
In that year my mother arrived at Six Street Southern Pacific Station in Oakland, with three little girls, everything we had left in a couple of cardboard suitcases, and a crucifix, to join George Allen her father, my grandfather, Poppa George, who had settled out here at end of the first World War. And was at that point sharing a little shotgun bungalow out on 76th Avenue with my mother's two pullman porter brothers, and a sister, and Aunt Louise, who was poppa's third wife.
And so, we were no longer required to call them grandmother. She was Aunt Louise. And there we would wait for my father who would join us in a couple of months. And I would begin life in East Oakland as a child of the service worker generation. Our fathers and our uncles were the red caps and pullman porters, and the cooks and the waiters, and the bellhops, and the janitors, and the laborers.
And our mothers were 50 cent an hour domestic servants. Cleaning white people's homes and taking care of white people's children because that's who we were as a nation in those years. That's who we were. I graduated Castlemont High School in Oakland, with two opportunities for employment open to me. I could've worked in agriculture. Or, I could've been a domestic servant. My older sister Magaery who's a beautiful young woman and a talented artist spent the first five years of her marriage as half of a domestic team.
Her young husband was a chauffeur and Margaery was a housekeeper for a family in Piedmont. And because they lived in, on the premises, with Thursdays off, which was traditional, they could save every penny the earned toward a down payment on their first home.
And this was the traditional pathway into the middle class for African American. This was what my life would have been. This is what the prescription was. Except there's a third choice, and it was one I was wise enough to take, I married Mel Reid, who's family had made its way out across the country from Griffin, Georgia, at the first sound of cannon fire, the Civil War.
And in , Mel was in his senior year at the University of San Francisco playing left halfback for the San Francisco Dons and what 19 year old wouldn't prefer that. So that's what I did. And I completely escaped the life of my sister. But I share that history with you in order to illustrate that being a clerk in , even under those circumstances, even in a Jim Crow segregated union hall, somewhere in a little temporary building in the middle of Richmond, even then that was a step up.
My folks were proud of me. I wasn't making beds in a hotel, I wasn't cleaning white people's homes, I wasn't taking care of white people's children, I wasn't emptying bed pans in some rest home or hospital, I was a clerk. Which in would have been the equivalence of today's young women of color being the first in her family to enter college. That would of been the equivalence. Because that's who we were. Now scroll ahead with me to 15 years ago. And 15 years ago I'm back in Richmond, I'm back after more than 20 years as suburban housewife.
Living out in the Diablo Valley. Living out after raising four kids in a redwood designed house. After out living two husbands. After decades of friendships with powerful people who were my church members and friends. I'm here this time as a field representative for a member of the California State Assembly. I'm working for Dion Aroner. And when Dion term limited out I stayed on as a field representative for her successor Loni Hancock who only recently term limited out of the California State Senate.
I'm in a one person satellite office somewhere again, in the middle of Richmond. I'm doing constituency work. And along with the rest of field staff I am helping to determine what kind of legislation might be need out of the five cities of Contra Costa County over which my office sat.
And if you're wondering whether I became a genius between the time I was 20 and 15 years ago, may I quickly assure you that that's anything but true. That dramatic arc of my life from 20 to 15 years ago in no way is a sign of personal achievement.
Instead, it's a solid indication of how much social change occurred in this country over those intervening years. Something we all did, all of us. Black and brown, and yellow and red, and straight, and gay and trans. It's what we all did. All of us. And some of us did it kicking and screaming. And some us are still kicking and screaming. But enough of us, because of what happened right here in Richmond during those years of and , because of that social change continues to radiate out of the Bay Area into the rest of the country.
And that's enough to build a park around. That's true, that's true. Now, long, I guess it was during that time 15 years ago where the planners were gathered here in Richmond in my legislative district, and that was when the memorial had already come into being. It lay less than a mile from my office but it had never dawned on me to visit the Rosie Memorial because that was a white woman's story. The women in my family had been working outside their home since slavery because it had always taken two salaries to support black families.
Few black men could do it alone. Few black men. And, that arc, that arc had never been entered into in many parts of the country, but even here even in the greater Bay Area, we had peeled off on issues, a lot of folks peeled off on open housing. You know, not ready to have a family that didn't look theirs living right next door. What about property values. And then more of us peeled off on the decision of Brown versus The Board of Education, and not ready to have their children to be bused across town to suit my social agenda.
And then more of us peeled on Affirmative Action. Which was incidentally never a case of quotas. And let's repeat that. So the fact that the memorial lay less than a mile from my office that I had never visited it, certainly rose out of the fact that I could not identify with Rosie's story at all. Because we were on a completely different plain. A different one. Now, 15 years ago, the planners were gather here in Richmond because this park had become into being through legislation at a time when I guess it was around , it accord to someone in the Department of Interior that every single taxpayer was funding the creation, the development, and the maintenance of this incredible system of national parks, but it was only the people who had the leisure time and the financial resources who could afford to visit them.
And somehow they began to get a notion that they needed to begin to plan urban parks. But, there were no models for those. How do you prepare an urban park without any federal lands? How do you do that? This park had been created in the legislation on paper with scattered sites that lead throughout the city of Richmond. Sites that were either owned privately, commercially, by none profits civically.
We were to own nothing. Can you really develop a national park that only exists on stories. Only exists under the hats of the Rangers. How do you create a national park that doesn't have any boundaries? This one didn't have boundaries. The only park that vaguely resembled it may have been the park in Lowell, Massachusetts but in that case the federal government went in, purchased the textile mills, transformed them over time into arts and cultural centers and in time the entire city of Lowell, Massachusetts becomes a national park.
And maybe that's what happens here in Richmond. But, the planners were gathered here to begin to figure with the owners of the said site, and the community, the answers to some of those questions. And that's when I discovered the national park. That's when I discovered it. And met this incredible building next door for the first time.
But turned out tanks and jeeps for the war in the pacific during World War Two. So it was an important piece of the home front story. But that building had been constructed on state owned land. It was built on air rights. So a seat opens up on the planning table for the State of California. And I'm in it. And I'm the only person of color in the room and the only person who could look at the PowerPoint at the scattered sites that laid throughout the city and instantly recognize 'em as sites of racial segregation.
Because what gets remembered is determined by who's in the room doing the remembering. There wasn't any grand conspiracy leaving my history out, there simply wasn't anybody in that room that had any reason to know that but me. Nobody, nobody. Atchison Village named in the legislation built by the Maritime Commission to temporarily house Kaiser management. But, they would've been no black managers at the time, so the question was moot. Nystrom Village, also built to be restored to show how workers lived, but you could not live in Nystrom Village unless you were white.
HUD built segregated housing for the workers that were brought in from the south. You could not buy or build living quarters if you were not white except in North Richmond. A place where there were no streets or sidewalks.
But that's the way we were. The Maritime Child Development Center which show prominently in this film was the work of one of the Kaiser geniuses Dr. Catherine Landis, who believed that little children were capable of learning. That care-taking wasn't enough. And what she developed there turned out to be the progenitor for headstart right here in Richmond.
But you could see from the film that there were no children or families of color serviced by the Maritime Child Development Center, none. Now fortunately for all of us all of those planners in that room were graduates of Sesame Street. And you're laughing. But in my pantheon of civil rights leaders, there has always been place for Jim Henson and his children's television workshop.
And Mister Rogers. Because we were all back in the 50s, back building the television sets and building the suburbs with our GI Bill and building the automobiles. Our kids were all sitting in front of the television sets being humanized by those geniuses. And Jim Henson and Mister Rogers really had always had a place in my heart. And by in, 15 years ago, those kids were all grown up. And by then they're sitting around corporate board rooms throughout the country.
And in the forestry service, in the State Department. And now, they're in Microsoft and Apple, and Twitter and Facebook, and they all knew that it wasn't easy being green, and they knew that one of these things is not like the other, it doesn't matter one bit. And those planners were not only willing but anxious to know what was missing in their PowerPoint.
And for the first time since I was that 20 year old young unknowing naive young woman of color in that segregated union hall, I'm in a position to witness the history that I missed. And it was a marriage made in heaven. I read everything I could about the period. The studies were just beginning to come out of the University of California.
I read everything I could, what was existing about Henry Kaiser. I read. Though the books had, I don't think have yet been written that are going to do him justice. I fell in love with Henry Kaiser. I mean, how could you not. He was a man who had dropped out of school at 13, who had never built a ship, had never built, had to go to the library to figure out how you do that.
Came into Richmond as a cement contractor in on a contract with the Maritime Commission to build ships for the British under lend-lease. He knew that if he could introduce that mass production, prefabrication techniques that Henry Ford was using in auto manufacturing he could revolutionize ship building. Nothing I ever read about him would have convinced me that he was a social reformer.
Just a smart businessman. He knew all he needed was enough hands and he didn't care what color they were. He didn't care who they were attached to he just need enough hands, and he knew where the greatest pool of available labor existed in this country. Whites coming off the dust bowl. Blacks from the slow mechanization of cotton. Everybody coming up from the great depression of the 30s. Possible for black man been standing on the sidewalk in Jackson, Mississippi, where southern tradition would demand that he not only not make eye contact with a white person, but they step into the gutter if a white person approached.
And that man could tapped on the shoulder by a Kaiser recruiter and find himself two weeks later in the city of Richmond riding in the front of the bus 10 years before Rosa Parks would refuse to give up her seat in Montgomery, Alabama. Into a city with a population of , imagine how small the city was, into a city with a population of only a man with the audacity of Henry Kaiser would choose to import for his four Kaiser shipyards a workforce of black and white southerners, who are not going to be sharing drinking fountains, schools, housing, hospitals, even cemeteries, or any kind of public accommodations for another 20 years back in their places of origin.
That's not going to happen until the 60s. We're talking And no time for focus groups and diversity training. They are all living under the common threat of fascist world domination. No time to take on a broken social system. They have to negotiate at the individual level every hour of every day in order to get through it without killing each other. If you knew the sequence in which people were hired because there was not an enlightened Henry Kaiser who was hiring people, it was segregated unions.
And first they hired the men who were too old to fight. Followed by the boys who were too young to be drafted. And then single white women. And when that pools exhausted, married white women. And then, in the first of black men hire to do the heavy lifting. For the women that they brought on board. Hired as helpers and trainees only never to go above that. And though there were some few black women hired as janitors to sweep the decks and pick up trash where other people worked, it wasn't until late in and early in when black women began to be trained as welders.
And if you know that sequence and you look at that picture on our wall upstairs or in this film, with all these people standing together like brothers and sisters, color, all color and sizes and shapes and ethnicities, and ages, and we come from more enlightened time and we look at that picture and we think look how they got along back then in Why can't we do that?
What you have to know is that those pictures have to date from late in or early in , because in you couldn't have gotten them to stand together to have their pictures taken. But you also see in those pictures is that acceleration of social change. They came in as sharecroppers. As you could see by this film. But by the time the war ended they were ship builders. And working around the clock on three shifts a day for a days with only Christmas off, behind a man who referred to the battle ship as the pointed end, you gotta love Henry Kaiser.
They had completed ships in three years and eight months. By way of comparison, Mr. Moore at Moore Dry Dock, who was a traditional ship builder, Mr. Moore had been building ships since the first World War.
Moore completed Bechtel Corporation at Marine Ship, completed And Henry Kaiser completed ships in three years and eight months. And right here, right here in Richmond in his four Kaiser shipyards, helped to turn the course of the war around and bring it to an end by out producing the enemy. That's enough to build a park around. It began to dawn on me because I stopped working for state and started working for the National Park Service on a four year contract as a consultant, when I realized that if we had a place on the planet where we could go back and revisit that era not by the myths that we made up about it, none of this greatest generation stuff, or today's skin crawling American exceptionalism.
But if we go back and revisit that era, in truth, as it was lived by those of us who lived it, only then can we get a baseline against which to measure how far we've come. Remember that arc that we all shared. If we don't know where we started, we have no conception of where we are or how we got here. Only if we go back and retrace our steps.
And that's what the park became for me.
INVESTING IN CRYPTOCURRENCY A GOOD IDEA
Television stations in the South threatened to boycott the program if White didn't remove Duncan from the lineup, but she was steadfast. Live with it. She also drew laughs with her one-liners in the comedy "The Proposal" and the horror spoof "Lake Placid. Over the span of her career, White was honored with eight Emmy Awards, including the Lifetime Achievement Award in White also was a fierce advocate for animals, raising money for causes such as the Morris Animal Foundation and the Los Angeles Zoo.
In , she wrote, produced and hosted a syndicated TV show, "The Pet Set," to which celebrities brought their dogs and cats. He died in , and White never remarried. White's assistant reportedly told Carol Burnett that White called out Ludden's name moments before she died. Watch a trailer of the film here: [[[marker1]]] Get more local news delivered straight to your inbox.
She also stood firm against racial pressure , despite the consequences it might have had on her career at the time. Her daytime variety show featured Arthur Duncan, a young singer and dancer who credits White with giving him his start in show business. Duncan was the first Black series regular on an American variety show. Television stations in the South threatened to boycott the program if White didn't remove Duncan from the lineup, but she was steadfast.
Live with it. She also drew laughs with her one-liners in the comedy "The Proposal" and the horror spoof "Lake Placid. Over the span of her career, White was honored with eight Emmy Awards, including the Lifetime Achievement Award in White also was a fierce advocate for animals, raising money for causes such as the Morris Animal Foundation and the Los Angeles Zoo.
In , she wrote, produced and hosted a syndicated TV show, "The Pet Set," to which celebrities brought their dogs and cats.
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