Satchel Paige was forty-two years old in 1948 when he became the first black pitcher in the American League. Although the oldest rookie around, he was already a legend. For twenty-two years, beginning in 1926, Paige dazzled throngs with his performance in the Negro Baseball Leagues. Then he outlasted everyone by playing professional baseball, in and out of the majors, until 1965. Struggle—against early poverty and racial discrimination—was part of Paige's story. So was fast living and a humorous point of view. His immortal advice was "Don't look back. Something might be gaining on you.
Satchel Paige was forty-two years old in 1948 when he became the first black pitcher in the American League. Although the oldest rookie around, he was already a legend. For twenty-two years, beginning in 1926, Paige dazzled throngs with his performance in the Negro Baseball Leagues. Then he outlasted everyone by playingaprofessional baseball, in and out of the majors, until 1965. StruggleOCoagainst early poverty and racial discriminationOCowas part of Paige's story. So was fast living and a humorous point of view. His immortal advice was Don't look back. Something might be gaining on you.
Satchel Paige was forty-two years old in 1948 when he became the first black pitcher in the American League. Although the oldest rookie around, he was already a legend. For twenty-two years, beginning in 1926, Paige dazzled throngs with his performance in the Negro Baseball Leagues. Then he outlasted everyone by playing professional baseball, in and out of the majors, until 1965. Struggle—against early poverty and racial discrimination—was part of Paige's story. So was fast living and a humorous point of view. His immortal advice was "Don't look back. Something might be gaining on you.
This memoir of a man who was instrumental in shaping the vibrant Five Points neighborhood that is now Denver’s only Historic Cultural District begins with his roots. His parents fled the Jim Crow laws of Texas on an eight-month 1903 wagon train into Indian Territory where Leroy Smith was born in the oldest black town of what had by then become Oklahoma. His personal “Great Migration” began when he walked across the border into Arkansas. Working and vagabonding his way northeast to be rescued when he received a bus ticket from a friend who suggested he come west to Utah for a decent job on the railway. Working the trains, Leroy was drawn to Denver which he had learned was the “Harlem of the West.” There he met Lulu Ann Green, convinced her in a whirlwind courtship to marry and join him as a partner in a tiny shop they rented for ten dollars a month. Leroy bought black newspapers, hair products and vinyl music on his Chicago train runs that Lulu sold to Denver’s fast growing black population. By 1941 Leroy could quit the railroad to create the “Rhythm Record Shop” in a two-story building he purchased in the busy Wellton Street business district known as “The Points.” In 1944 he held his first dance concert which his ingenuity handily saved from disaster and began booking the great names of rock and roll, rhythm and blues, gospel, jazz, etc. to cities in Colorado and surrounding states. Often referred to as “the Mayor of Five Points,” he was known as a cool band leader who sold “race music,” black hair products and quality goods within the “red lines.” Smith was also a gifted sportsman who hunted, fished, and pitched on black baseball teams. He soon added the words “and Sporting Goods” to the already expanded merchandise found in his shop, offering fishing and hunting licenses with gear. He became Colorado’s first black outfitter licensed to sell firearms with his sports equipment. He was named an honorary game warden and—after lobbying for an officer-manned lockup only three doors away—an honorary police officer. An audacious masonic leader, Leroy fought city hall to bring black Shiners to his ingeniously desegregated Denver hotels for conventions. He paid to advertise his ventures on the radio by becoming, his own disc jockey on his midnight “Rockin’ with Leroy” show. His sharp instincts for enterprise and entertainment lifted him into business, cultural, mining, and other endeavors that inspired the diverse neighborhood to action. His political inclinations led him to success in opening the second floor of his building as the Voters Club, a swinging night club with live music and famed visitors which he used to rally African Americans to vote and fight for their American civil rights. All proceeds from sale of this scrapbook of photos, letters and memories are destined solely for the support of Denver’s Black American West Museum & Heritage Center.
With Amusement for All contextualizes what Americans have done for fun since 1830, showing the reciprocal nature of the relationships among social, political, economic, and cultural forces and the ways in which the entertainment world has reflected, changed, or reinforced the values of American society.
Manning (Old Dominion U.) and Baruth's (Appalachian State U.) text provides preservice and inservice educators with information about the six prevalent cultural groups in the U.S., and the components of responsive multicultural education. The fourth edition reflects changes from the past four years,
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