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All They Can Say is “No”
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When I came to Amherst, rigid racial segregation was the mostly unchallenged norm. Amherst accepted only two “Negro” students in each entering class (and we had to room together in our freshman year). Yet the presence on campus of recent veterans of World War II gave an unusual air of maturity to my class. This was also the time when Sen. Joseph McCarthy made it dangerous for any American to express “liberal” thoughts.
Our freshman year, my black friend and roommate, Kenneth A. Brown ’52, learned that his parents’ newly built home in a nice neighborhood of Warren, Ohio, had been bombed. Apparently, some whites in his town did not like the idea of a black physician and his family visibly improving their living condition. More than any other experience during my years at Amherst, this incident filled me with a helpless rage, of which most of my fellow students were completely unaware.
As a 16-year-old black freshman from Brooklyn, N.Y., I craved the guidance of someone with firsthand knowledge of Amherst, our nation and the world. Gil was that person. He had a remarkable ability to attend to his custodial duties with amazing speed and efficiency, leaving plenty of time in the late afternoon to lose himself playing the jazz banjo on the club’s back porch or in the furnace room. That’s where I would find him whenever I needed advice.
Many is the hour that I would sit transfixed, listening to Gil’s fingers coaxing one jazz melody after another from his banjo. Gil’s modesty never allowed him to indulge in bragging about traveling to some 20 countries around the world with Louis Armstrong’s band in the 1930s. Nor did he ever tell me that he had accompanied the legendary Josephine Baker at the Folies Bergère in Paris. Nor was there a hint of a boast that he had performed for Egyptian King Fu’ad I, who’d given Gil two ebony and ivory walking sticks. Indeed, Gil traveled so far and wide in the early 1930s that his daughter, Edythe, did not get to know her father until she was 7. Indeed, Gil was no ordinary Amherst custodian.
So great was Gil’s modesty that I never knew until recently that his Amherst town ancestors had fought and died in our Civil War as members of the 5th Massachusetts Cavalry, the 54th Regiment Massachusetts Volunteer Infantry and Connecticut’s 29th Colored Infantry. Nor did Gil ever tell me that he was an elder of the Montaukett Indian Nation of Long Island, N.Y.—one of several Native American tribes that had intermarried with freed and escaped black slaves.
When the Amherst track coach saw this long-legged black kid from Brooklyn, he immediately saw a future college track star. After seeing me run, he quickly abandoned that idea. I sought out Gil’s advice. He asked me in what sport I would like to compete. Bracing myself to be laughed at, I said, “Fencing.” Gil put his hand on my shoulder and replied, “Go for it. All they can say is ‘No.’” Fencing Coach Steve Rostas welcomed me, and soon I was an Amherst varsity fencer and letterman. “All they can say is ‘No’” became Gil’s mantra as I became an Amherst Masquer, a stalwart of the Glee Club and a member of the Chapel Choir.
Gil presided over the Jeff Club’s annual barbecue as both cook and primary source of entertainment. Competing with the various fraternity parties, our club party was the social event of the year. John A. Rounds ’53 would dig the barbecue pit and keep the coals burning while Gil supervised the turning of the side of beef on the spit. Ladies from Smith and Mount Holyoke vied for invitations to this event, which always concluded with a spectacular performance by Gil on the banjo.
From Gil, I learned the real meaning of the term “the dignity of labor” as I earned spare change cleaning stables at UMass and babysitting for faculty kids. From him, I developed the courage to be “different,” as Gil would gently remind me that the world would always see me as black. Most important, Gil taught me to be unafraid to be a pioneer: All they can say is “No.”
Former U.S. Ambassador to Algeria, Haynes is a member of the Council on Foreign Relations and a Distinguished Visiting Scholar at the University of Central Florida.
Photo courtesy of Edythe Harris
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The Recorder, Greenfield, Mass., Monday, October 7, 2002
Robert G. Roberts
Hadley -- Robert Gilbert "Gil" Roberts, 106, died Sunday (10-6-02) in the SunBridge Rehabilitation and Care Center.
He was born in Amherst, April 25, 1896.
He graduated in 1915, from Amherst High School, where he captained the championship hockey team.
He worked in the Springfield Westinghouse plant during World War II, and was a longtime employee of Amherst College.
Roberts was a member of the congregation of Jehovah's Witnesses of Amherst.
A talented banjo player, he traveled with various orchestras in the 1930s, his international touring began with European performances of Eubie Blake's Broadway show, "Blackbirds."
Roberts played with the best, including Louis Armstrong and Josephine Baker, and performed in 21 countries, including a special concert for King Farouk of Egypt. Roberts sat with the Egyptian King and everything before him, even the salt and pepper shakers, was made of gold.
In his later years, he played with The Jazz Doctors, Black Eagles Jazz Band, Blue Horizon Jazz Band and Oreos, and he once entertained Ernest Hemingway.
At the age of 100, he received the Golden Cane and the Jones Library in Amherst hosted an exhibit of his life. At 105, he was honored as Hampshire County's oldest resident. At that time, representatives of the Hampshire Council of Governments presented him with the wood and leather chair reserved for the county's most senior citizen. He was also honored as an elder in the Montaukket Indian Nation.
His wife, the former Ida May Bateman, died March 11, 1982.
He leaves a son, Charles H. Roberts of Amherst; a daughter, Edythe D. Harris of Greenfield; 14 grandchildren, 24 great grandchildren, 26 great-great-grandchildren, great-great-great-grandchildren, and nieces and nephews.
A son, Perry E. Roberts, and a daughter, Doris Eunice Elaine Bridges, pre-deceased him.
Services will be Thursday at 10 a.m. in Douglass Funeral Home, North Pleasant Street, Amherst.
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- Born in Amherst
- Graduated from Amherst High, played hockey
- Jehovah’s Witness
- Elder in the Montaukett Indian Nation
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All They Can Say is “No” | 2012: Spring | All They Can Say is “No”
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Amherst College Olio 1958 | Amherst College Digital Collections
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Artifacts from Black and Afro-Indigenous residents of Amherst tell a lesser-known history
Several generations of a Black and Afro-Indigenous family from Amherst, Massachusetts, have been archiving photos and artifacts, connected to how and where they and others lived in the town hundreds of years ago.
Dozens of people came out the first week in February to celebrate an exhibit of photos and artifacts that tell largely unknown stories of these Amherst residents.
“Ancestral Bridges: Celebrating Black and Afro-Indigenous families who lived and worked in Amherst in the 18th through early 20th centuries” will be on view in Frost Library through this summer.
The show, on the first and second floor of the library, is curated by Ancestral Bridges founder Anika Lopes. A couture milliner and former Amherst town councilor, she's turned decades of her family's research into the non-profit.
All her life, Lopes said, she has heard from relatives about who and where she came from. Lopes, who is Afro-Indigenous, grew up in the largely white town. For decades, her grandfather and great-grandfather collected artifacts and stories of Amherst residents who started Black businesses and churches in town — and who provided homes to other Black and Afro-Indigenous people coming to Amherst from the South.
After her elder relatives died, Lopes said she sort of inherited the job of keeping their work going.
“[Ancestral Bridges] is a collective of family members, genealogists, experts in the field. We don't put anything out until it's documented. It's not hearsay; it’s not Ancestry.com,” Lopes said.
The public history they’ve been building and showcasing comes from what Lopes called a rare kind of deep dive, not just for her family, but for the public.
“The work [being done] uplifts the Black and Afro-Indigenous history of Amherst,” Lopes said, “that for the most part has been erased and is unknown to most of the community.”
The exhibit at Amherst College has been up since last year, though Lopes added several new artifacts, including a letter from November 1863, which she said shows her family's connection to the Civil War and the Emancipation Proclamation.
“[The] letter was written by Charles Thompson, who is my four times great uncle. He was a member of the Fifth Cavalry during the Civil War," Lopes said.
The letter was written on the back of sheet music, typical of the times. The letter itself is personal and loving, from Thompson to his sister Mary, about longing to see family again. It was recently found by a family member, hidden in a picture frame, Lopes said.
According to the exhibit, Thompson, his father and other family members were among the soldiers in 1865 sent to Gavelston, Texas, to establish the end of slavery — even as the Emancipation Proclamation took effect in 1863.
Also among the photos is one of jazz musician Gil Roberts — born in 1896 in Amherst — posing with a banjo.
At one time, Roberts was internationally acclaimed, but because he was Black, Roberts couldn’t play in the U.S., according to the exhibit. He traveled to Europe, where he performed with Josephine Baker and Louis Armstrong.
Roberts returned to western Massachusetts for health reasons and later worked as a janitor at Amherst College.
The exhibit features several other photos and stories of the college’s 19th century Black employees. It's only recently the school has included them in its history, according to the exhibit.
About a hundred people came out for the late afternoon event, including Lopes’ mother, her 96-year-old aunt, Lopes’ elementary school teacher and a former leader of the Nipmuc tribe in Massachusetts.
“I have to give a special shout-out to all of these ladies in the front row,” Lopes said.
The women have been her mentors, Lopes said, and she "stands on their shoulders."
Shirley Jackson Whitaker, a physician, artist and member of Ancestral Bridges board, was among them. At the microphone, Whitaker spoke about another Ancestral Bridges event she took part in last year, at the Porter-Phelps-Huntington Museum in nearby Hadley.
Whitaker, along with storyteller and former Amherst College Dean of Students Onawumi Jean Moss, were part of a ceremony last September remembering six people enslaved at the Porter-Phelps farm in the 18th century.
Whitaker performed a song she wrote, imagining the experience of one of the enslaved, Margaret (Peg) Bowen, unable to leave anything to her children.
“My little girl, you will always be, even if they take you away from me," Whitaker sang.
Many at the library event, like about 70% of Amherst, were white. To everyone, Lopes reiterated her goal, to make the history and legacy of local Black and Afro-Indigenous people visible.
“We're talking about two cultures that weren't meant to even have a history, let alone know their history, let alone being authority and telling their history,” Lopes said.
Part of that is about what comes next for Amherst.
Allegations of discrimination, including racism, have roiled the school district in recent months. At the same time, there’s a plan underway to distribute a $2 million reparation fund to the town's Black community.
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