Guardian Angels Of Civil Rights
The Real 'Deacons' of Bogalusa, La.
advertisement
Ossie Davis as Reverend Gregory and Forest Whitaker as Marcus, the quiet family man who finds himself drawn into the role of a gun-carrying civil rights stalwart. (Michael Gibson -- Showtime)
By Lisa Frazier Page
Washington Post Staff Writer
Saturday, February 15, 2003; Page C01
As a teenager growing up in the 1970s amid the smoke and stench of the paper mill where my father worked, I wanted nothing more than to live and know someplace other than Bogalusa, La. I knew all I wanted to know about my home town -- or so I thought.
Just 60 miles northeast of New Orleans, Bogalusa has always been closer in character and racial history to the Mississippi towns on the other side of the Pearl River. By the time the flames of the civil rights movement swept into town in 1965, Jim Crow and the Ku Klux Klan had the black people of Bogalusa in a firm chokehold. I was 3 then, too young to know firsthand the story of a group of working-class black men who with guns and guts forced the great white intimidators to loosen their grip on black Bogalusa.
Throughout my childhood, I heard vague references to the men, who called themselves the Deacons for Defense and Justice. But I would become an adult before I would understand the contradictions of Bogalusa's civil rights history.
A piece of that history will premiere on Showtime tomorrow at 8 p.m. "Deacons for Defense," which depicts the military-like unit constructed to protect civil rights demonstrators, is part of the cable network's lineup for Black History Month.
Directed by Bill Duke and starring Forest Whitaker, Jonathan Silverman and Ossie Davis, the story centers on Marcus (Whitaker), a quiet family man and war veteran who works in a menial job at the Bogalusa paper mill. He is reluctantly drawn into the civil rights struggle and organizes a group of black men to become defenders of the movement. The group's armed stance puts Marcus at odds with Deane (Silverman), the idealistic white civil rights activist who subscribes to the nonviolent philosophy of Martin Luther King Jr.
Based on a book proposal and research by Michael D'Antonio, the movie is pretty close to the true story, though Marcus is a composite figure, said producer Nick Grillo. But when the two white men show up to persuade the poor black folks of Bogalusa to take a stand, the film seems headed in the same disturbing direction as "Mississippi Burning" and "Ghosts of Mississippi," which made saviors of the white characters and gave short shrift to the courage and sacrifice of black people. Marcus and the Deacons do emerge as the movie's heroes, as Grillo tried hard to make clear.
"I think," he says, "we have a movie that shows the courage of these black men at a very tough time in Bogalusa."
Despite the awful Southern accents and overly dramatic climax, Grillo and Duke deserve much credit for bringing to national attention a story that goes against the heralded nonviolent philosophy of the movement. That alone might have kept it where it has been contained all these years: in the memories and hearts of the people of Bogalusa.
The real story of the Deacons is a complex one. It reveals that the right thing to do was not always so clear in the souls of ordinary black men and women when their ideal and their reality met on dangerous street corners or in pitch-black alleys in 1960s Bogalusa.
Bogalusa is full of contradictions. Once the sixth-largest city in Louisiana, it feels more like a country town. Majestic pine trees give it a rare touch of grace, but they end up as pulp or cardboard boxes produced by the local paper mill. The mill rises from the center of town and saturates the air with a rotten-egg stink that hits you not long after you cross the 24-mile bridge over Lake Pontchartrain. Yet many in Bogalusa regard the mill, now owned by the Texas-based Temple Inland Corp., with a kind of protective reverence, for as the economy of the plant goes, so goes the town. The two are so closely tied that the population -- 13,365 in 2000 -- rises and falls with the hiring and layoff trends at the mill.
My father was part of a small group of black men recruited from area colleges for first-time professional and management positions at the plant in the late 1960s -- a direct result of the movement's dual push for equal job opportunities for the plant's black workers and the desegregation of public institutions.
I attended the city's only parochial school, one of two black students in my class. Everyone was friendly at school but not allowed to visit each other's homes. In the fifth grade, my friend Catherine Frank invited me to her slumber party. But when my classmates' parents learned I would be there, most of them kept their children at home.
Only years later did I learn that white callers had threatened to burn a cross in the Franks' front yard if "that little [you fill in the blank]" slept on their side of town. I learned, too, that while Catherine and I giggled and ate hot dogs in a back room, a loaded gun sat on a hallway closet shelf, just in case.
Those were the kinds of memories that fueled my quest to know more about Bogalusa's racial past. My questions eventually led me to Robert Hicks, a deacon at Bethlehem Baptist Church who was a black union leader at the plant. In January 1965, he was vice president of a civic league that invited the Congress of Racial Equality (CORE) back to Bogalusa to test the city's compliance with the 1964 Civil Rights Act.
The day of testing was peaceful, but when black people went downtown the next day, the Klan was ready with fists and sticks. Frustrated -- and perhaps intimidated -- by the chaos, the civic league president quit. Months later a man was found who was willing to take the post: A.Z. Young, a black union leader, known for his big cars, big voice and big stature.
Young would become the face and voice of the struggle for civil rights in Bogalusa. But white racists found a focus for their rage in Hicks when he invited the white activists to stay in his home. The Deacons -- in concept, at least -- were born in his back yard, Hicks says.
Three CORE workers were preparing to head back to New Orleans, escorted by the Bogalusa police, after the day of testing ended. But with images of Philadelphia, Miss., and the three boys murdered there fresh in their minds, Hicks and his wife, Valeria, insisted that they stay overnight with their family. Like a torch dropped on a stack of dry pine, the word spread. Rumors got back to Hicks that Klan members were planning to snatch the men from his home in the middle of the night.
"We called some of our friends," Hicks says. "They brought their guns and got up on our roof."
Some accounts list Jonesboro, La., as the birthplace of the Deacons. The name originated there, Hicks says, but after that night in his yard, an organized group of armed black men became a permanent component of the Bogalusa Civic and Voters League.
The Deacons accompanied protesters to demonstrations downtown and on overnight treks to the parish seat and state capital. They also drove Hicks to and from work, and black workers at the mill never left him alone at work, even in the restroom.
Hicks's son, Charles, was away at Syracuse University at the time, but on his visits home, he found that the Deacons accompanied the family everywhere.
"We knew we were a marked family," says Hicks, who now works in the black studies division of the Martin Luther King Library here. "I'm always reminded that if it had not been for the Deacons, the Hicks family would be dead."
Rickey Hill, a professor at DePauw University, recalls listening as a young boy to the real Deacons discuss events. He says the few clips he saw during a preview of the Showtime movie seemed to distort their story.
"I don't remember a time when the Deacons walked down the street with their guns cocked," says Hill. "Everybody knew they had guns. But a lot of what they did was clandestine."
The leader of the Deacons was Charles Sims, a former Army man, local insurance salesman and cab driver. A small man with a fearless streak, a mouth to match and, some say, a drinking problem, Sims may have been perfect for the role. He is said to have once bragged on a Los Angeles radio show that he was so good with a gun he could shoot a fly on a fence from yards away. With him on the scene, the other black civil rights leaders seemed more palatable to Bogalusa's white establishment.
One night, Hicks says, his home was packed with about a dozen demonstrators, including a group of white CORE volunteers, when they heard glass breaking and gunshots. Hicks and some of the Deacons rushed out with their guns in time to see three white boys in a car, firing their weapons in the air. Hicks and his men shot back, chasing the intruders away. Hicks says he was still holding his gun when the local police, followed by carloads of FBI agents, rolled up. One of the agents asked him for his gun.
"You can have my pistol if you give me yours," Hicks says he told the agent. "You're not going to leave me here unarmed."
Hicks never had a problem with intruders again, he says. Crosses stopped burning in black neighborhoods, too.
Eventually the "whites only" signs came down. After much resistance, schools were integrated.
That's not to say my generation lived King's dream. When the fire of the movement died out, we eventually settled into a separation of choice. There was one high school in town, where we all mingled peacefully. But at the end of the day we headed home to our separate lives. We even attended separate proms.
I never realized our behavior was particularly strange until I moved away and started looking back.
As a young writer in the mid-1980s I asked Charles Sims what really happened back then. He shared his story but began ranting about how my generation had failed to keep the fires of the movement burning. At one point I asked him for examples of his generation's progress in Bogalusa.
He reared back in his chair, cocked his head, picked at his white beard and said: "I'm looking at it."
In my silence, he continued: "I remember the time this would've been a white reporter sitting here, interviewing me."
Sims died a short time later, followed by A.Z. Young, and just before Christmas last year, Gayle Jenkins, one of the few women nationwide who stood front and center during the civil rights movement, making decisions, accepting blows and going to jail alongside the men.
Hicks is left to tell the story.
Maybe someday, he says, he and some of the old guys might get together one last time. Maybe they'll click on a tape recorder, talk about those dangerous old days, and for the sake of generations to come, allow themselves to remember.
? 2003 The Washington Post Company