For our February Monday
Mayhem programming, the Flying Squirrel will be showing "July '64,"
directed by Carvin Eison, about the 1964 race riots in Rochester. This
July marks the 50th anniversary of the riots.
Darryl Porter
will be coming to talk about his memories from that period. If you were
alive in 1964 and want to talk about your memories from that time,
please come out and participate in the discussion.
Monday, February 3, 2014
Flying Squirrel Community Space
285 Clarissa St.
7:00pm - 9:00pm
Free and Open to the public (donations always welcome!)
On the First Monday of every month, the Flying Squirrel hosts a
monthly meeting that forgoes the technical and logistical concerns of
running an open-use community space in order to take a close look at the
impact of our actions on the community and our potential as a catalyst
for change.
About the film:
People were stunned as to
how could this happen in Rochester, you know, an affluent eastern city
that had a reputation of being very benevolent and generous. —Frank
Lamb, mayor of Rochester in 1964
When Hurricane Katrina ripped
the roof off of New Orleans, the world was riveted by images of the
city's primarily black and poor residents left to fend for themselves.
Shocked by suddenly visible abject poverty and subhuman conditions,
voices cried out against the injustice. But such conditions—poverty,
lack of opportunity and poor education—and the violence they spawned are
nothing new.
JULY ’64 tells the story of a historic three-day
race riot that erupted in two African American neighborhoods in the
northern, mid-sized city of Rochester, New York. On the night of July
24, 1964, frustration and resentment brought on by institutional racism,
overcrowding, lack of job opportunity and police dog attacks exploded
in racial violence that brought Rochester to its knees. Directed by
Carvin Eison and produced by Chris Christopher, JULY '64 combines
historic archival footage, news reports and interviews with witnesses
and participants to dig deeply into the causes and effects of the
historic disturbance.
In the 1950s, millions of African
Americans from the Deep South packed their belongings and headed north
in search of a better life. The city of Rochester, New York, with a
progressive social justice history and a reputation for manufacturing
jobs, drew people like a magnet. Between 1950 and 1960, Rochester’s
black population swelled by 300 percent. The city—dubbed “Smugtown USA”
by a local journalist—groaned under the weight of unprecedented growth.
City fathers ignored newcomers’ housing and education needs. The only
openings for blacks at companies like Kodak and Bauch and Lomb, were
“behind a broom.”
1964: night shot of a Caucasian police officer in riot gear, with his hand on the arm of a young distraught Caucasian man
On the night of July 24, 1964, what community leader and minister
Franklin Florence calls the African American community’s “quiet rage”
exploded into violence. What began as a routine arrest at a street dance
in a predominantly black neighborhood in downtown Rochester ended with
the National Guard being called to a northern city for the first time
during the era of the Civil Rights Movement. The uprising, which later
came to be known as the Rochester Riot, sparked a series of summertime
riots in small and mid-sized northern cities. As in many of those
cities, the three days of unrest and civil disobedience in Rochester
provoked actions and sentiments that reverberate to this day.
The score for JULY ‘64 features a never-before-released live recording
of Duke Ellington performing "Night Creature" with the Rochester
Philharmonic Orchestra in August 1964, less than two weeks after the
riots. Filmmakers Eison and Christopher discovered the recording in the
archives of the University of Rochester's Eastman School of Music Sibley
Library after learning that Ellington's 1964 summer tour had included a
stop in Rochester.
With narration by Emmy Award-winning and
Tony Award-nominated actor Roscoe Lee Browne, JULY '64 reveals new
information about the Rochester Riots and provokes the question of why
race, and the entitlement it does or does not carry, remains a
potentially destructive issue today.