Thoughts for White Conservatives Who Never Owned Slaves


A quick publishing note before the main post: I’m back at work on my next kids’ book, The Friendly City, and plan to have it ready this fall. Following is a piece I posted on my secular blog, which I hope you will find worthwhile

White hand reaching out to shake hands with the Black Lives Matter clenched fist logo.

I’m seeing a lot of defensiveness from conservatives regarding racism. This is understandable, as the Left continues pushing to redefine racism to include things such as breathing and having a job.

But being defensive isn’t helping anyone. Is it really too much to ask that we try to see the world from our Black neighbors’ perspective? To empathize with them? To face America’s racist past?

Here’s a clear example of what I’m seeing. Last week I read an article about Max Lucado publicly repenting at length for his ancestors’ sins of racism. The majority of comments following said things like this:

> My dad said his father was a horse thief…do I need to beg for forgiveness for his sin? If I do, do I get to hear honking cars afterwards?

> Lucado is trying to sell more books. No where in scripture does it suggest you repent of the sins of your ancestors… Slavery and racism has (sic) been present since the beginning of time.

> This is ridiculous. Licado (sic) needed attention and sell books (sic)…..that was 150 years ago…get over it.

Stuff I Didn’t Learn in School
I’ve spent the last few weeks re-learning the history of Black America. I was born in 1960 – ninety-nine years after the start of the Civil War. I thought I knew this stuff. What I’ve realized is that I mostly learned about the good parts – the civil rights victories, Rosa Parks, Martin Luther King Jr., and how America finally got it right. I never really learned about just how bad things were for Black Americans during the 100 years after the Civil War, before the “civil rights era.”

I recently listened to a talk by Bryan Stevenson, attorney and author of Just Mercy. Stevenson carries a lot of moral authority with me because of his tireless work on behalf of people on death row who have been wrongly convicted. He contends that America has never truly come to grips with its racist past, and that this is a necessary step in order for healing to actually occur as a nation. I agree with him.

I suppose most white folks, myself included, have assumed that because equal rights have been established on a policy level, then we’ve basically solved the problem. We live and work next to our Black fellow Americans and we all get along just fine now.

May I ask something of you? I am not suggesting that you need to repent of your ancestors’ sins. Repentance is not the point for you today if you do not hold racist beliefs or attitudes, imo. What I think is in order is that we grieve with, feel with, and empathize with, our Black brothers and sisters. I’ve compiled a brief timeline of post–slavery American history. I think you will find some surprises, as I did.

TIMELINE:
1863 – THE EMANCIPATION PROCLAMATION is issued by Republican President Lincoln during America’s Civil War over slavery. The Proclamation declares that slaves residing in the warring Confederate states are “then, thenceforward, and forever free.” Southern whites insist that Lincoln’s executive order is illegal and refuse to comply.

1865 – THE 13TH AMENDMENT is ratified, formally codifying the Emancipation Proclamation, prohibiting slavery throughout the United States, “except as punishment for crime.”

1865 – THE CIVIL WAR ENDS. LINCOLN IS ASSASSINATED 6 DAYS LATER. Democrat Vice President Andrew Johnson assumes the presidency but proves to be soft in his commitment to implement Reconstruction efforts and to protect newly recognized Black citizens. Among other things, Johnson opposes Black voting rights.

1866 – WHITE MOB VIOLENCE in Memphis and New Orleans leaves nearly 100 Blacks citizens dead, and some 200 wounded, including at least 5 women raped. White police officers contribute to the violence and killing until federal troops arrive.

1866 – REPUBLICANS WIN A VETO-PROOF SUPER-MAJORITY IN CONGRESS as a result of public outrage over the Memphis and New Orleans attacks. Progressive Republicans embark on an aggressive civil rights program the likes of which wouldn’t happen again for 100 years.

1866 – THE CIVIL RIGHTS ACT is passed, over President Johnson’s veto, declaring Black Americans full citizens entitled to equal rights.

1866 – THE 14TH AMENDMENT IS PASSED by the super-majority, but will require ratification by 28 of the 37 states in order to become constitutional law. The proposed amendment establishes that all persons born in the US, regardless of race, are full citizens of the US and of the states in which they reside and are entitled to the “privileges and immunities” of citizenship, due process, and the equal protection under the law.  10 of 11 former Confederate states reject the proposed amendment overwhelmingly.

1867 – THE RECONSTRUCTION ACTS OF 1867 are passed by the super-majority, over President Johnson’s veto, in response to the former Confederate states’ rejection of the 14th amendment. The Acts require former Confederate states seeking readmission to the Union to fulfill the Acts’ conditions. Former states would be required to ratify the 14th amendment, grant voting rights to Black men, accept federal military rule in the southern region, and draft new constitutions to be approved by congress.

1868 – THE 14TH AMENDMENT IS OFFICIALLY ADOPTED. White backlash, violence, and efforts to maintain white supremacy continue in earnest.

1870 – THE 15TH AMENDMENT IS PASSED – the third and last of the Reconstruction amendments. It states, “The rights of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of race, color, or previous condition of servitude.” Subsequently, Black voters turn out in droves and more than 600 African Americans are elected as state legislators. The US Congress adds 16 Black representatives, and Mississippi elects the nations first two Black senators. The new racially integrated Reconstruction governments set about repealing racially discriminatory laws. Instability grows as whites in the South refuse to accept what is happening.

1870-71 CONGRESS PASSES A SERIES OF ENFORCEMENT ACTS, including the Ku Klux Klan Act of 1871, authorizing, among other things, the federal government to prosecute civil rights violations as crimes. Republican President Grant supports progressive Reconstruction and provides federal troops to enforce it, as state governments are powerless to stop widespread violence and upheaval.

1872 – THE SUPREME COURT BEGINS ISSUING RULINGS THAT NEUTRALIZE RECONSTRUCTION. One of the worst is the 1876 United States vs Cruikshank decision. Incredibly, the Cruikshank ruling interprets 14th amendment protections as only applying to state offenses, not against violence perpetrated by individuals, rendering the Enforcement Act useless. Cruikshank leaves Blacks in the South defenseless against white perpetrators so long as they act privately. As a result, anti-Black violence in the South openly increases as white perpetrators act with impunity, knowing that racist state judicial systems and law enforcement will not punish them. This marks the beginning of the end of a mere 10-year period of hope and positive development for Blacks in America, until the civil rights era of the 1960s.

1876 – THE END OF RECONSTRUCTION. The 1876 presidential election ends in a stalemate between Democrat Samuel J. Tilden and Republican Rutherford B. Hayes. The Supreme Court and Congress develop a compromise whereby Hayes would become president if he would agree to end Reconstruction. The “unwritten” Compromise of 1877 resulted in all remaining federal troops being pulled out of southern states, and the agreement that the South would have the right to deal with Blacks without northern interference. This leaves southern Blacks with no legal recourse and virtually no protection, relegating them to an inferior status in a hostile society.

Here I will end the timeline, and summarize for purposes of brevity.

In the ensuing decades, especially in the South, a white supremacist society intentionally and often violently terrorized Blacks in order to “keep them in their place.” Despite the fact that equality between the races was encoded into federal law, the notion of white supremacy remained entrenched at every level of white society in the former slave states – in the general population, in the education establishment, in churches, in civil law, in law enforcement, in the legal system, and in state government.

Racial separation and inequality were enforced by many means including:

> rewriting state constitutions and Laws, including Jim Crow laws requiring racial segregation

> creating all-white juries to guarantee immunity for perpetrators of racial violence

> physical violence and legal barriers against would-be Black voters

> evicting and/or firing would-be Black voters working for racial equality

> police brutality from officers who were often Klansmen/members of white supremacist groups

> judges who held white supremacist and/or segregationist views

> shutting down public schools to prevent integration, and the widespread creation of all-white schools

> criminalizing peaceful civil rights protests

> sexual violence against Black girls and women

> rioting

> bombings

> lynching

If I may elaborate just a bit on lynching: I had been under the impression, I suppose mostly from movies, that lynching was a somewhat risky and rare phenomenon perpetrated mostly by the KKK under cover of darkness. However, the Equal Justice Initiative (EJI) has documented 4084 lynchings between the years 1877 – 1950. These have been verified from news and other sources from the era. There were unquestionably an untold number of undocumented lynchings and assaults as well.

It seems clear that “terror lynchings” were perpetrated to send a message to Black citizens who had hopes of claiming their newly won rights as full citizens and equals. The message was that if you are Black, this can be done to you or your loved ones if you step out of “your place” as an inferior. The message was that a black person accused by a white person is not worth the time and expense of due process in a courtroom setting.

Many lynchings were public spectacles, with hundreds of white citizens and families in attendance. These were not viewed as fringe acts of extremism, but were mainstream events condoned by white society. Sometimes there would be food and drink, and the victim’s body parts would be handed out to the crowd as souvenirs. This was all openly documented by an often sympathetic press.

What is the point of saying these things now?
This is not the America we live in today. It is true that no one alive today owned slaves or perpetrated a racial terror lynching. No Black person living today was ever a slave. But the appropriate response to Black Americans is not, therefore, “so get over it.” For decades during the post-slavery era, Blacks were left utterly unprotected and what was done to them was horrific, to say nothing of the slavery itself that came before. White America must sorrowfully acknowledge this.

Millions of white supremacist Americans worked tirelessly, voted, and rioted to keep Blacks subjugated. The experience of Black Americans today has been shaped by this history. It should also be said that racial terror and discrimination was not just a “southern problem.” After Reconstruction ended, some 6 million Black Americans fled the South to the North, Midwest, and West, where violence and discrimination often followed – in cities such as East St. Louis, Chicago, Detroit, Tulsa, and Omaha.

Admitting the horror of America’s violent, racist past is a necessary part of national healing and understanding. Doing so is not an admission that America is innately horrible, or that rioting, or the solutions proposed by left wing groups like BLM or M4BL are correct.

But it might help us to understand the anger and frustration. It might help us to understand the eerie familiarity Blacks may feel when a white policeman unjustly kills a Black man and goes unpunished. It might help us to understand how confederate monuments may be seen as celebrations of white supremacy. It might help us to understand why America remains largely segregated, even though overt white supremacy has virtually disappeared from society and its institutions.

It is a basic act of respect toward Black Americans to not sweep their history under the rug. May God give us all grace and understanding to clean house without tearing the house down.

— Scott Freeman, September 2020

For further reading I recommend one or all of EJI’s 4 thin books: Slavery in America; Reconstruction; Segregation in America; & Lynching in America.

Building Community Through Art

Klimt, The Kiss, Loveland Colorado
“THE KISS” – Loveland Version, 15 x 15 feet.

2020 is our fourth year to create a giant community art piece in downtown Loveland, Colorado. For the design each year I’ve spoofed a famous fine art painting, giving each one a Valentine’s Day twist and a nod to Loveland.

This year I chose Austrian painter, Gustav Klimt, and his iconic 1908 painting, The Kiss.

If you look closely you can see Dan Cupid aiming his arrow at the couple. Dan Cupid is the character who shows up in the special postmark each year for Loveland’s famous valentine re-mailing program. He’s kind of a Loveland mascot, at least around Valentine’s Day, so he made his way into the design this year.

Dan Cupid, Loveland Community Mural
Detail showing Dan Cupid

Painting of the mural takes place during Loveland’s annual Valentine’s Day Street festival. This year there were 400 tiles, each painted by festival-goers; young and old, skilled and unskilled, first-timers and returnees. I received many enthusiastic comments from folks who are thankful for this community project, letting me know that people value the experience. That’s worth a lot to me!

Four years ago, my motive for creating the mural event sprung from a perceived need and a desire to build community. After the 2016 election, so much of the country seemed so divided and angry, even in my hometown of Loveland.

Today, four years later, the climate doesn’t seem much better to me, except that I now hear more voices calling for listening to, and understanding, one another in respectful dialogue. (Click here to see a favorite example of mine). I believe those voices are correct. The unhealthy alternative of perpetual division is too disheartening to live with. I’m sure that we can leave something better than that to our children; at least as far as it depends on us.

I don’t see much hope that presidents and elected politicians are capable of bringing healing to our divided nation. It’s up to us to do that at a grass roots level. It’s up to us to restore the vanishing art of respectful disagreement. Let us have the courage to connect with our neighbors and get to know them, especially those who may see things differently than we do.

Even though a community mural is not going to transform the social climate, I think it’s one small step in the right direction. Combined with many other small steps, perhaps we can eventually find that we have arrived at a more caring and unified place as a society.

Big thanks again to all of my amazing volunteers at Beggars’ Gate Church!
Thanks also to Loveland Downtown Partnership and the Loveland Chamber of Commerce for their support!

Scott Freeman public art
My valentine to my wife. (I’m too skinny to get a real tattoo).

Book News:
I believe I will finally have the bandwidth this year to complete my next storybook, The Friendly City, (that’s been mostly sitting for a couple of years). I’ll keep you posted, and I look forward to starting to bring some other fun book ideas to life!

— Scott

A Painting: Bringing the Hidden Stuff to Light

worship painting, Scott Freeman

“Transformation” by Scott Freeman, 22×28, latex paint on canvas

Some thoughts around community and authenticity
I haven’t done a great deal of worship painting, (defined as live painting during a worship service,) and when I have done so, I’m not sure that what I’ve painted has spoken to many people. But recently I did a worship painting that seemed to connect with several bros. After the service I had some great conversations, and several people wanted to purchase the painting.

I was a little embarrassed about the subject matter, due, I suppose, to my fine art schooling and the fact that Christian subculture can get pretty cheesy at times. But I do consciously aim to make work that exists in a place of tension between populism and elitism. This is possibly due to the fact that I had a thoroughly blue-collar upbringing, but then attended a private, elitist art college. I found that both had valuable things to offer.

On this night, I figured that making a painting featuring both a sword and a mask would render it hopelessly clichéd in the eyes any art snobs in the room, but I couldn’t think of a better way to communicate what I wanted to say. So I ignored all that and made the painting.

The painting
I had some friends in mind as I made the painting – guys that are struggling to overcome various addictions, and for whom this struggle has been a protracted battle. As I’ve watched my friends I’ve been impressed by their humility; by their willingness to make themselves vulnerable and accountable to our church congregation of fellow travelers.

This has required them to remove their masks; to allow us into their lives to see them as they are in their failures, and allow us to accept them and care for them. But it’s difficult removing masks. It’s counter-intuitive. It requires a death to self, and that’s what the sword represents. It really is a battle. I see my friends as warriors.

As I was painting I noticed that the mask has the shape of a shield. It struck me that we may try to use masks as a shield; as a way to protect ourselves, and as something to hide behind. But a mask fails as a shield. A mask is too small, and we all know what’s behind the mask anyway – a broken person who needs connection with God and with other people. We intuitively know this because it’s true for us all.

So the figure in the painting is instead looking to the light of God; exposing himself to God; surrendering himself to God; receiving new life from God, resting in God’s grace. The mask is down. The armor we actually need is the spiritual armor described by the apostle Paul, including the shield of faith and the sword of the Spirit, which is the word of God (Eph 6:10-18).

Why do we pretend to have our poop in a group?
Church culture can tend to perpetuate mask-wearing as a way to hide our secret sins and imperfections. Maybe it’s because we celebrate the destination, and it’s easier to present the impression we have already arrived than it is to do the uncomfortable work of making the inward journey. Or maybe we feel we don’t have fellow travelers that we can trust. Maybe for a wounded person it feels safer to forego taking a relational risk. Maybe we just don’t know a better way.

But hiding our sins and imperfections is to misunderstand what Jesus envisioned a community of His followers to be. The church was intended to be a subculture of life, called out from a culture of death. Life as God defines it means walking in communion and love, and walking in freedom that comes from addressing our brokenness.

The process of coming to the Light so that the darkness in our hearts is exposed is a process we must all undertake if we are to live in the community of God’s Life. Entrenched lies and destructive patterns must be identified, named, confessed and brought to light, put to death, and then replaced with Truth. Otherwise, they will continue to inhibit the Spiritual healing and wholeness that God has in mind for us.

The hidden stuff has a way of not staying hidden anyway. If it remains present it will shape our identity and our behavior, even affecting those relationships around us as it tends to come out in hurtful or inappropriate ways.

Restoration and Transformation
We were made for wholeness, for freedom, and for loving communion with God and one another. He has created us to need Him, and to need community with one another; to know and to be known; to experience relational unity as human beings helping each other along in the process of being restored to wholeness. The shameful stuff, whatever it may be, has power over us as long as it remains hidden.

“…If we walk in the Light as He Himself is in the Light, we have fellowship with one another, and the blood of Jesus His Son cleanses us from all sin. If we say we have no sin, we are deceiving ourselves and the truth is not in us. If we confess our sins, He is faithful and righteous to forgive us our sins and to cleanse us from all unrighteousness”
(1 John 1:7-9).

May we walk in the Light together.

removing the mask

Prints are available of this painting. Email me if you’re interested at scottnmollie@yahoo.com.

A Brief Update

Scott Freeman street art

“Loveland Gothic,” 12×15 ft, painted by 320 local citizens, young and old.

Book Update:
Well, I think I’ve finally figured out how to get back to book making. I’ve secured a part-time job at a local cabinetry company. This helps to ease the financial pressure for my wife and me, and I’m home from work by noon, which should allow me to get back to working on new storybooks that are waiting to come to life. Thank you for your patience!

Other Stuff:
For the past 3 years, I and a small army of volunteers from my church have facilitated the creation of a community mural, painted by local festival-goers, during downtown Loveland’s annual Valentine’s Day festival.

Each year we’ve spoofed an iconic fine art painting, giving each painting a Valentiney twist. This year I chose an American artist, Grant Wood, using the occasion to celebrate sibling love. Many people assume that Wood’s original painting depicts a husband and wife, though this is probably not the case. Wood never clearly defined the relationship of the characters.

The point of the mural project is to bring the community together in creating something fun, creative, and monumental. Individuals are encouraged to express their individuality on their tiles, and those tiles then each become a part of the bigger picture – a metaphor for community. Festival-goers do not know in advance what the bigger picture will be. This is the reason I have chosen fine art imagery – these images are already well loved by the public and are hopefully something of which no one would object to being a part.

My hope in this is that the church can bring something to the unchurched community that will be received as positive, valuable, and inclusive – things that many do not associate with church in the current social climate

All in all, I think the mural came together nicely! It’s on 4th Street and Lincoln ( hwy 287) if you’d like to stop by. Thanks to the Loveland Downtown Partnership and Chamber of Commerce for their support this year. Also thanks to all the volunteers at Beggars’ Gate church for braving the cold and making this happen again.

Scott Freeman - public art

Detail showing the bear chainsaw sculpture and the Abraham Lincoln brooch.

Loveland Gothic-God is Love

A New Mural Project and the Story Behind It

MLK mural Indianapolis

Photo copyright 2018 Sierra Gillard, used with permission from photographer and subject.

Here’s a story worth telling, about art and hopefulness.

Although I’m a fine art painter in my own right, I’ve increasingly found satisfaction in facilitating “non-artists” in the enterprise of art making. I’ve developed an inclusive process by which virtually anyone, including small children and people with physical or mental disabilities, can be a participant in creating a compelling, monumental artwork. (Of course, skilled artists are welcome as well!) This process necessarily involves large numbers of people.

This recent story began with a discussion I had with one of my daughters last Christmas. She and her husband were visiting for the holiday, and I wanted to hear about her new job in Indianapolis. She was teaching at an inner city school there in a pretty rough environment. She recounted that one of the students had been shot over Thanksgiving break, and that when school resumed, fights had been breaking out over the incident.

The high school where she was teaching had combined two different high schools for the current school year. Then at the close of the school year, these high school students were going to be moved again, and the current school was to become a middle school for the next school year.

My daughter recounted conversations she had with students during a time of sharing thoughts. She told me that pretty much across the board the students feel like nothing they do matters to other individuals. Certainly not nationally, but not even locally. Their voices don’t matter. What they do doesn’t matter.

Pointlessness and hopelessness are not good ingredients for creating a culture of life. Especially for a demographic that has a lot stacked against it.

I wondered out loud about how something like the Fire & Ice Festival murals would go over at her school. For the last 2 years, the small church I attend has been helping me put on these big art-making events, each culminating in a giant public mural. The point of the process is that each individual paints a small square of the larger picture. Each tile bears the personal expression of the individual, while contributing to a larger mural that the entire city can enjoy – a colorful metaphor for community.

We envisioned the possibility that the Arlington High School (AHS) students could see such a mural as both a legacy that they could leave to the incoming middle school students, but also be a way that they could leave their individual mark in a creative, positive, and lasting way. It seemed like these students could use something that would feed their souls; to be part of something big and meaningful. I understood that the staff and teachers at AHS already work hard to deliver this, and this seemed like something that I could contribute, even if from a distance.

I cautioned my daughter that it would be a ton of work for her, but she took it on. She ran it past her principal and then the staff. Even without being able to fully know what was coming they said “yes.” I ran the idea past my pastor to see if our church, Beggars’ Gate, would be willing to cover the cost of my time. The high school would cover materials, installation, and its own time. It was now officially a collaboration between a little church in Loveland, Colorado, and a large high school in urban Indianapolis, Indiana.

The school principal approved a design bearing a likeness of Martin Luther King Jr., which was fitting for this year because 2018 is the 50th anniversary of Dr. King’s tragic assassination.

I completed my part and shipped off over 750, six inch square, prepped and coded tiles to Indianapolis. As the painting began at AHS, the students got into it and so did the staff. My daughter had a friend come in and DJ the painting area to create a good atmosphere. Good things happened. Creativity flowed. Dancing ensued.

community art project

Some kids, “hall-walkers” who have not been able to find their place in an academic setting, found their place in this setting.

At least one student who is artistically gifted spent over 2 hours on his 6 inch square tile. He said it was the first time he had used paint.

A Behavior Specialist on staff said, “You know what? If we would’ve done this earlier in the year, I think our kids would’ve done better. It’s inspiring. I’m inspired!”

As the individual painting was going on, no one really knew what was coming. A few kids snuck their tiles out, presumably because they didn’t want to give them up. But when the seemingly random pieces all came together and went up on the wall, the result was spectacular. A lot of hugs were exchanged.

Congrats to Principal Law and the staff and students at Arlington High School – you did a great job!  Thank you Beggers’ Gate Church, for your support!

Martin Luther King Jr memorial

Martin Luther King Jr. Memorial Mural, painted by the students and staff of Arlington High School. Formatted by Scott Freeman, 2018. (12.5 x 25.5 ft)

Obviously, a mural is not going to solve anyone’s problems. But if, at least for some students, it provided some sense of being part of something transcendent; of having a unique place in community; of seeing themselves as being mentors to younger kids; of creative potential breaking out; then I think that’s a good thing. Maybe that’s about the most we can expect from art.

inner city high school project

Find your place in the bigger picture

Getting a vision? Contact me about bringing an experience like this to where you are.
My email is scottnmollie@yahoo.com.