Meadowlark Lemon and the complexity of being a Globetrotter (and Globetrotter fan)

December 28th, 2015

 

 

This morning came news of the passing of Meadowlark Lemon, the face of the Harlem Globetrotters for more than 20 years, his peak coming during the height of the civil rights movement. It was a complex time to be a Globetrotter, who at one time (prior to Lemon’s tenure with the team) was a legitimate and powerful basketball entity that was so good in 1948 it beat George Mikan’s Minneapolis Lakers, to that of a team so focused on clowning that, in the words of Bruce Weber in today’s New York Times obituary, “some thought to be a discomforting resurrection of the minstrel show.”

It was also a complex time to be a fan of the Globetrotters, whose occasional appearance on national television always elicited my great enthusiasm and anticipation of the laughter Lemon would provide, which was awkward considering that the accompanying images of the time — often taking place 15 miles from my house — were those of protests, marches, persecution and bigotry.

In 2005 I was privileged to interview Ben Green, author of the definitive biography of the Globetrotters, Spinning the Globe: The Rise, Fall and Return of the Harlem Globetrotters, and in this excerpt we spoke about the complexity of this era of Globetrotter basketball…

 

_____

 

 

JJM Their other great rivalry was with the Minneapolis Lakers, whose best player was the center George Mikan. Returning to this issue regarding racial stereotypes and minstrelsy, you wrote, “The rumblings of the civil rights movement are still faint, barely audible in the distance, but in another four years, in the upsurge of the Brown decision and the Montgomery bus boycott, Abe Saperstein and the Harlem Globetrotters will be pulled inexorably into that swirling vortex, will come under stinging attacks, from blacks and whites alike, for being Uncle Toms and Sambos, Stepin Fetchits in short pants.” Why didn’t the Trotters’ wins over the Lakers help break down this image of theirs?

BG In some ways it did. For one, the Globetrotters’ wins over the Lakers sealed the fact that they could play ball with anybody. From 1948 and throughout the fifties and early sixties, people knew they could play. Besides playing the Lakers, they played an entire series of games with College All-Americans, who were put on the road with the Globetrotters. The games sold out from one end of the country to the other.

Their image beyond basketball continued to take a hit because of what was happening in the civil rights movement, and by the sixties and seventies, the black community had fully turned on the Globetrotters. At that time, all kinds of issues of black identity — everything from hair styles to how to refer to the race itself — was up for grabs. So, the image of Meadowlark Lemon left an impression of the Globetrotters’ “Tommin’ for Whitey” that really haunted them at this point in time, and the black community turned against them. This is in stark contrast to the times they beat the Lakers in 1948 and 1949, when they were heroes to the race. The black community revered them in the same way they had for Jackie Robinson or for Joe Louis because the Globetrotters proved they could beat the best white team in the country. But later, when all the racial issues of the sixties came to the forefront, the Globetrotters were seen as a relic of the past.

JJM The Globetrotters faced a complex dilemma because while they broke down some of the fears whites had about blacks — which at the time was very essential — they did so at the expense of their image with black Americans. Basically, they were damned if they did and damned if they didn’t.

BG Some of the most interesting comments I heard on this subject were not from the ballplayers, but from their African American fans. I asked one guy who attended the 1948 and 1949 games against the Lakers if he felt like the Globetrotters’ show was at all demeaning, and he said that, to the contrary, they waited for the show because that was the affirmation of how good they were. But what eventually happened during the seventies is that the show was all that was left — the good basketball was gone because the best ball players were by that time playing in the NBA. The Globetrotters were left with the clowning, and the fans also knew that opponents like the Washington Generals were not legitimate, which meant they lost all credibility with their fans. They went from boasting about beating George Mikan so bad that they could put on their baseball routine at the end of the game, to only having the clowning played out in front of stooge teams. To the Globetrotters of that era, beating the Lakers was their final triumph.

JJM Everybody dumped on the Trotters. Even the novelist James Michener wrote, “What these blacks were doing for money was exhibiting proof of all the prejudices which white men had built up about them. They were lazy, and gangling, and sly, and given to wild bursts of laughter, and their success in life depended upon their outwitting the white man. Every witty act they performed…was a denigration of the black experience and dignity…In fact, I strongly suspect that the Harlem Globetrotters did more damage racially than they did good, because they deepened the stereotype of the lovable, irresponsible Negro.” While reading about this part of the Globetrotters’ history, I couldn’t help but think of how Louis Armstrong struggled with the same kinds of complexities they did. Like the Globetrotters, through his great art and charisma Armstrong was effective at breaking down fears and stereotypes the white audience had toward black performers of his era, which served to elevate the potential of other blacks but simultaneously limited his own.

BG That is a great analogy because there is no doubt that within the black community people knew Armstrong had great chops and they understood his importance, but the more he sang songs like “Hello Dolly,” it must have seemed he was playing for the acceptance of a white audience — but could this same audience accept John Coltrane?

JJM That’s right. Within a year of Armstrong recording “Hello Dolly,” Coltrane is recording A Love Supreme. It is difficult to imagine two more different perspectives of African American life at that time. It certainly doesn’t mean Armstrong’s view was unacceptable or should be considered demeaning, but what can be learned from this is that he set the stage for Coltrane to do things he himself could not.

BG That is a very interesting analogy. An athletic comparison can be made regarding events of 1968, which was the year Tommy Hines and the African American sprinters at the Olympics made their black power salute during the awards ceremony. At the same time, Meadowlark Lemon and Curly Neal are shuckin’ and jivin’ on Wide World of Sports, which led many in the black community to conclude that their clowning was not the image they cared to look up to. Television played to that, because they weren’t interested in showing a Globetrotter basketball game — they were interested in showing Globetrotter entertainment.

 

__________

And…in this excerpt, Green was asked to talk about Lemon, and describes being surprised by what he learned about him during the writing of his book.

 

JJM Meadowlark Lemon…

BG Meadowlark Lemon’s story was one of the most surprising to me, because when I was a kid, I really looked up to him — so much so that I would even imitate his hook shot when playing the game myself. He was the showman of the team at that time, but I could find almost no one inside the organization who would say good things about him.

Two things about Meadowlark came across the strongest, the first being that he really couldn’t play basketball. Abe brought him in because he needed someone who could imitate Goose — which goes back to our conversation regarding minstrelsy. When Goose left the team, Abe grabbed on to Meadowlark because he looked like Goose and could imitate him on the court — but the move lost the respect of the other ballplayers. Meadowlark’s entire role was to imitate what Goose did, but the other players said he couldn’t do it nearly as well as Goose. The real resentment of Meadowlark occurred around television. While Goose took them to the TV stage, Meadowlark became the international celebrity — a worldwide figure of sorts because of all their exposure. The Globetrotters then turned into the “Meadowlark Lemon Show,” and the other players really resented that. He was a maniac, he was arrogant, he became the president, he became the coach, and he just dominated the whole show. He was, in a way, symptomatic of what led the Globetrotters to bankruptcy, because their entire existence was centered around the clowning. With Meadowlark, they got totally away from their roots.

JJM Yes, he had a massive ego, something that impacted the relationship between Saperstein and the players as well. At one time Abe was incredibly devoted to his players and treated them as equals, but as he became more popular and wealthy, he put himself way above the players. They must have resented that.

BG There was a lot of resentment around that. Some guys loved Abe until the day he died, but for others, they really felt the separation. The old days of Abe sleeping with them in the Model T or in some flea bitten hotel were long gone. He was now a millionaire and would stay in a different hotel. The players may have still been in the flea bag hotel, but he was in the fanciest place in town.

 

_________

Click here to read my entire interview with Ben Green

Share this:

Comment on this article:

Your email address will not be published. Required fields are marked *

Site Archive

Your Support is Appreciated

Jerry Jazz Musician has been commercial-free since its inception in 1999. Your generous donation helps it remain that way. Thanks very much for your kind consideration.

Publisher’s Notes

Creatives – “This is our time!“…A Letter from the Publisher...A call to action to take on political turmoil through the use of our creativity as a way to help our fellow citizens “pierce the mundane to find the marvelous.”

In This Issue

Announcing the book publication of Kinds of Cool: An Interactive Collection of Jazz Poetry...The first Jerry Jazz Musician poetry anthology published in book form includes 90 poems by 47 poets from all over the world, and features the brilliant artwork of Marsha Hammel and a foreword by Jack Kerouac’s musical collaborator David Amram. The collection is “interactive” (and quite unique) because it invites readers – through the use of QR codes printed on many of the book’s pages – to link to selected readings by the poets themselves, as well as to historic audio and video recordings (via YouTube) relevant to many of the poems, offering a holistic experience with the culture of jazz.

Interview

photo Louis Armstrong House Museum
Interview with Ricky Riccardi, author of Stomp Off, Let’s Go: The Early Years of Louis Armstrong...The author discusses the third volume of his trilogy, which includes the formation of the Armstrong-led ensembles known as the Hot Five and Hot Seven that modernized music, the way artists play it, and how audiences interact with it and respond to it.

The Sunday Poem


“The Köln Concert,” by Martin Agee


The Sunday Poem is published weekly, and strives to include the poet reading their work....

Martin Agee reads his poem at its conclusion


Click here to read previous editions of The Sunday Poem

Feature

“What one song best represents your expectations for 2025?” Readers respond...When asked to name the song that best represents their expectations for 2025, respondents often cited songs of protest and of the civil rights era, but so were songs of optimism and appreciation, including Bob Thiele and George David Weiss’ composition “What a Wonderful World,” made famous by Louis Armstrong, who first performed it live in 1959. The result is a fascinating and extensive outlook on the upcoming year.

Poetry

Sax in a Blue Suit by Samuel Dixon
21 jazz poems on the 21st of March, 2025...An ongoing series designed to share the quality of jazz poetry continuously submitted to Jerry Jazz Musician by poets sharing their relationship to the music, and with the musicians who perform it.

Interview

photo by Brian McMillen
Interview with Phillip Freeman, author of In the Brewing Luminous: The Life and Music of Cecil Taylor...The author discusses Cecil Taylor – the most eminent free jazz musician of his era, whose music marked the farthest boundary of avant-garde jazz.

Feature

photo of Rudy Van Gelder via Blue Note Records
“Rudy Van Gelder: Jazz Music’s Recording Angel” – by Joel Lewis...For over 60 years, the legendary recording engineer Rudy Van Gelder devoted himself to the language of sound. And although he recorded everything from glee clubs to classical music, he was best known for recording jazz – specifically the musicians associated with Blue Note and Prestige records. Joel Lewis writes about his impact on the sound of jazz, and what has become of his Englewood Cliffs, New Jersey studio.

Poetry

photo of Charlie Parker by William Gottlieb/Library of Congress; Design by Rhonda R. Dorsett
Jerrice J. Baptiste’s 2025 Jazz Poetry Calendar...Jerrice J. Baptiste’s 12-month 2025 calendar of jazz poetry winds through the upcoming year with her poetic grace while inviting us to wander through music by the likes of Hoagy Carmichael, Antonio Carlos Jobim, Sarah Vaughan, Melody Gardot and Charlie Parker.

Playlist

“Sextets: The Joy of Six” – a playlist by Bob Hecht...The cover of the 1960 debut album by the Jazztet, co-founded by the trumpeter Art Farmer and the tenor saxophonist Benny Golson, and which always featured a trombonist and a piano-bass-drums rhythm section. Golson wrote much of the music, but “Hi-Fly” – a tune featured on Bob Hecht’s two-hour playlist devoted to sextets – was written by pianist Randy Weston, and appears on the 1960 album Big City Sounds.

Interview

Interview with Jonathon Grasse: author of Jazz Revolutionary: The Life and Music of Eric Dolphy....The multi-instrumentalist Eric Dolphy was a pioneer of avant-garde technique. His life cut short in 1964 at the age of 36, his brilliant career touched fellow musical artists, critics, and fans through his innovative work as a composer, sideman and bandleader. Jonathon Grasse’s Jazz Revolutionary is a significant exploration of Dolphy’s historic recorded works, and reminds readers of the complexity of his biography along the way. Grasse discusses his book in a December, 2024 interview.

Feature

Dmitry Rozhkov, CC BY-SA 4.0 via Wikimedia Commons
“Thoughts on Matthew Shipp’s Improvisational Style” – an essay by Jim Feast..Short of all the musicians being mind readers, what accounts for free jazz musicians’ – in this instance those playing with the pianist Matthew Shipp – incredible ability for mutual attunement as they play?

Art

Photo of Joe Lovano by Giovanni Piesco
The Photographs of Giovanni Piesco: Joe Lovano...Beginning in 1990, the noted photographer Giovanni Piesco began taking backstage photographs of many of the great musicians who played in Amsterdam’s Bimhuis, that city’s main jazz venue which is considered one of the finest in the world. Jerry Jazz Musician will occasionally publish portraits of jazz musicians that Giovanni has taken over the years. This edition features 1999 photographs of the saxophonist Joe Lovano.

Feature

Excerpts from David Rife’s Jazz Fiction: Take Two – Vol. 11: “Chick” and “Hen” Lit...A substantial number of novels and stories with jazz music as a component of the story have been published over the years, and the scholar David J. Rife has written short essay/reviews of them. In this 11th edition, Rife writes about the “chicks” (energetic women, attractive, and open to experience) and “hens” (older women who have either buried or lost a loved one, and who seem content with their lives) who are at the center of stories with jazz within its theme.

Interview

photo by Carl Van Vechten, Library of Congress
A Black History Month Profile: The legendary author Richard Wright...In a 2002 Jerry Jazz Musician interview, Richard Wright biographer Hazel Rowley discusses the life and times of legendary author Richard Wright, whose work included the novels Native Son andBlack Boy

Feature

On the Turntable — The “Best Of the ‘Best Of’” in 2024 jazz recordings...Our annual year-end compilation of jazz albums oft mentioned by a wide range of critics as being the best of 2024

In Memoriam

photo via Pexels.com
“Departures to the Final Arms Hotel in 2024” – poetic tributes, by Terrance Underwood...2024 produced its share of losses of legendary jazz musicians. Terrance Underwood pays poetic homage to a handful who have touched his life, imagining their admittance to the Final Arms Hotel, a destination he introduces in his prelude.

Community

Stewart Butterfield, CC BY 2.0, via Wikimedia Commons
Community Bookshelf #4...“Community Bookshelf” is a twice-yearly space where writers who have been published on Jerry Jazz Musician can share news about their recently authored books and/or recordings. This edition includes information about books published within the last six months or so (September, 2024 – March, 2025)

Feature

Trading Fours, with Douglas Cole, No. 23: “The Wave”...In this edition of an occasional series of the writer’s poetic interpretations of jazz recordings and film, Douglas’ poem is written partly as a reference to the Antonio Carlos Jobin song “Wave,” but mostly to get in the famed Japanese artist Hokusai’s idea of the wave as being a huge, threatening thing. (The poem initially sprang from listening to Cal Tjader’s “Along Came Mary”).

Short Fiction

Stan Shebs, CC BY-SA 3.0 , via Wikimedia Commons/blur effect added
Short Fiction Contest-winning story #67 — “Bluesette,” by Salvatore Difalco...The author’s award-winning story is a semi-satirical mood piece about a heartbroken man in Europe listening to a recording by the harmonica player Toots Thielemans while under the influence of a mind-altering substance.

Interview

Interview with James Kaplan, author of 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans and the Lost Empire of Cool...The esteemed writer tells a vibrant story about the jazz world before, during, and after the 1959 recording of Kind of Blue, and how the album’s three genius musicians came together, played together, and grew together (and often apart) throughout the experience.

Feature

photo of Lester Young by William Gottlieb/Library of Congress
Jazz History Quiz #179...Throughout his career, this saxophonist was known as the “Vice Prez” because he sounded so similar to “Prez,” Lester Young (pictured). Who was he?

Community

Nominations for the Pushcart Prize XLIX...Announcing the six writers nominated for the Pushcart Prize v. XLIX, whose work was published in Jerry Jazz Musician during 2024.

Publisher’s Notes

photo by Rhonda Dorsett
On turning 70, and contemplating the future of Jerry Jazz Musician...

Feature

“Are Jazz-Hop Instrumentals Jazz?” – an observation (and playlist) by Anthony David Vernon...Google “what is jazz-hop?” and the AI overview describes it is “a subgenre of hip-hop that combines jazz and hip-hop music. It developed in the late 1980s and early 1990s.” In Mr. Vernon’s observation, he makes the case that it is also a subgenre of jazz.

Community

Notes on Bob Hecht’s book, Stolen Moments: A Photographer’s Personal Journey...Some thoughts on a new book of photography by frequent Jerry Jazz Musician contributing writer Bob Hecht

Art

“The Jazz Dive” – the art of Allen Mezquida...The artist's work is inspired by the counterculture music from the 1950s and 60s, resulting in art “that resonates with both eyes and ears.” It is unique and creative and worth a look…

True Jazz Stories

Columbia Records; via Wikimedia Commons
“An Evening with Michael Bloomfield” – a true blues story by David Eugene Everard...The author recounts his experience meeting and interviewing the great blues guitarist Mike Bloomfield in 1974…

Short Fiction

photo via PxHere
“The Magic” – a story by Mark Bruce...Most bands know how to make music. They learn to play together so that it sounds good and maybe even get some gigs. Most bands know that you have your chord progressions and your 4/4 beat and your verses and bridges. Some bands even have a guy (or a woman, like Chrissy Hynde) who writes songs. So what gives some bands the leg up into the Top 40?

Contributing Writers

Click the image to view the writers, poets and artists whose work has been published on Jerry Jazz Musician, and find links to their work

Coming Soon

An interview with Sascha Feinstein, author of Writing Jazz: Conversations with Critics and Biographers;, Also, a new Jazz History Quiz, and lots of short fiction; poetry; photography; interviews; playlists; and much more in the works...

Interview Archive

Ella Fitzgerald/IISG, CC BY-SA 2.0 , via Wikimedia Commons
Click to view the complete 25-year archive of Jerry Jazz Musician interviews, including those recently published with Judith Tick on Ella Fitzgerald (pictured),; Laura Flam and Emily Sieu Liebowitz on the Girl Groups of the 60's; Tad Richards on Small Group Swing; Stephanie Stein Crease on Chick Webb; Brent Hayes Edwards on Henry Threadgill; Richard Koloda on Albert Ayler; Glenn Mott on Stanley Crouch; Richard Carlin and Ken Bloom on Eubie Blake; Richard Brent Turner on jazz and Islam; Alyn Shipton on the art of jazz; Shawn Levy on the original queens of standup comedy; Travis Atria on the expatriate trumpeter Arthur Briggs; Kitt Shapiro on her life with her mother, Eartha Kitt; Will Friedwald on Nat King Cole; Wayne Enstice on the drummer Dottie Dodgion; the drummer Joe La Barbera on Bill Evans; Philip Clark on Dave Brubeck; Nicholas Buccola on James Baldwin and William F. Buckley; Ricky Riccardi on Louis Armstrong; Dan Morgenstern and Christian Sands on Erroll Garner; Maria Golia on Ornette Coleman.