Paul Robeson

This article is about the singer and activist. For his son, see Paul Robeson, Jr.
Paul Robeson

Robeson in 1942
Born Paul Leroy Robeson
(1898-04-09)April 9, 1898
Princeton, New Jersey, US
Died January 23, 1976(1976-01-23) (aged 77)
Philadelphia, Pennsylvania, US
Alma mater Rutgers College (1919)
Columbia Law School (1922)
SOAS, University of London
Occupation Singer, actor, social activist, lawyer, athlete
Spouse(s) Eslanda Robeson (m. 1921; d. 1965)
Children Paul Robeson, Jr.

Paul Leroy Robeson (/ˈrbsən/; April 9, 1898 – January 23, 1976) was an American bass singer and actor who became involved with the Civil Rights Movement. At Rutgers College, he was an outstanding American football player, and then had an international career in singing, with a distinctive, powerful, deep bass voice, as well as acting in theater and movies. He became politically involved in response to the Spanish Civil War, fascism, and social injustices. His advocacy of anti-imperialism, affiliation with communism, and criticism of the United States government caused him to be blacklisted during the McCarthy era. Ill health forced him into retirement from his career.

Robeson won an academic scholarship to Rutgers College, where he was twice named a consensus All-American and was the class valedictorian. He was later inducted into the College Football Hall of Fame. He received his LL.B. from Columbia Law School, while playing in the National Football League (NFL). At Columbia, he sang and acted in off-campus productions; and, after graduating, he became a participant in the Harlem Renaissance with performances in The Emperor Jones and All God's Chillun Got Wings. Robeson initiated his international artistic résumé with a theatrical role in Great Britain, settling in London for the next several years with his wife Essie.

Robeson next appeared as Othello at the Savoy Theatre before becoming an international cinema star through roles in Show Boat and Sanders of the River. He became increasingly attuned towards the sufferings of other cultures and peoples. Acting against advice, which warned of his economic ruin if he became politically active, he set aside his theatrical career to advocate the cause of the Republican forces of the Spanish Civil War. He then became active in the Council on African Affairs (CAA).

During World War II, he supported America's war efforts and won accolades for his portrayal of Othello on Broadway. However, his history of supporting pro-Soviet policies brought scrutiny from the FBI. After the war ended, the CAA was placed on the Attorney General's List of Subversive Organizations and Robeson was investigated during the age of McCarthyism. Due to his decision not to recant his public advocacy of pro-Soviet policies, he was denied a passport by the U.S. State Department, and his income, consequently, plummeted. He moved to Harlem and published a periodical critical of United States policies. His right to travel was eventually restored by the 1958 United States Supreme Court decision, Kent v. Dulles, but his health broke down. He retired and he lived out the remaining years of his life privately in Philadelphia.

Early life

Childhood (1898–1915)

Birthplace in Princeton

Paul Robeson was born in Princeton, New Jersey, in 1898, to Reverend William Drew Robeson and Maria Louisa Bustill.[1] His mother was from a prominent Quaker family of mixed ancestry: African, Anglo-American, and Lenape.[2] His father, William, whose family traced their ancestry to the Igbo people of present-day Nigeria,[1] escaped from a plantation in his teens[3] and eventually became the minister of Princeton's Witherspoon Street Presbyterian Church in 1881.[4] Robeson had three brothers: William Drew, Jr. (born 1881), Reeve (born c. 1887), and Ben (born c. 1893); and one sister, Marian (born c. 1895).[5]

In 1900, a disagreement between William and white financial supporters of Witherspoon arose with apparent racial undertones,[6] which were prevalent in Princeton.[7] William, who had the support of his entirely black congregation, resigned in 1901.[8] The loss of his position forced him to work menial jobs.[9] Three years later when Robeson was six, his mother, who was nearly blind, died in a house fire.[10] Eventually, William became financially incapable of providing a house for himself and his children still living at home, Ben and Paul, so they moved into the attic of a store in Westfield, New Jersey.[11]

William found a stable parsonage at the St. Thomas A. M. E. Zion in 1910,[12] where Robeson would fill in for his father during sermons when he was called away.[13] In 1912, Robeson attended Somerville High School, Somerville, New Jersey,[14] where he performed in Julius Caesar, Othello, sang in the chorus, and excelled in football, basketball, baseball and track.[15] His athletic dominance elicited racial taunts which he ignored.[16] Prior to his graduation, he won a statewide academic contest for a scholarship to Rutgers.[17] He took a summer job as a waiter in Narragansett Pier, Rhode Island, where he befriended Fritz Pollard, later to be the first African-American coach in the National Football League.[18]

Rutgers College (1915–1919)

Robeson (far left) was Rutgers Class of 1919 and one of four students selected into Cap and Skull

In late 1915, Robeson became the third African-American student ever enrolled at Rutgers, and the only one at the time.[19] He tried out for the Rutgers Scarlet Knights football team,[20] and his resolve to make the squad was tested as his teammates engaged in unwarranted and excessive play, arguably precipitated by racism during which his nose was broken and his shoulder dislocated.[21] The coach, Foster Sanford, decided he had overcome the provocation and announced that he had made the team.[22]

Robeson joined the debate team[23] and sang off-campus for spending money,[24] and on-campus with the Glee Club informally, as membership required attending all-white mixers.[25] He also joined the other collegiate athletic teams.[26] As a sophomore, amidst Rutgers' sesquicentennial celebration, he was benched when a Southern team refused to take the field, because the Scarlet Knights had fielded a Negro, Robeson.[27]

After a standout junior year of football,[28] he was recognized in The Crisis for his athletic, academic, and singing talents.[29] At this time [30] his father fell grievously ill.[31] Robeson took the sole responsibility in caring for him, shuttling between Rutgers and Somerville.[32] His father, who was the "glory of his boyhood years"[33] soon died, and at Rutgers, Robeson expounded on the incongruity of African Americans fighting to protect America in World War I but, contemporaneously, being without the same opportunities in the United States as whites.[34]

He finished university with four annual oratorical triumphs[35] and varsity letters in multiple sports.[36] His play at end[37] won him first-team All-American selection, in both his junior and senior years. Walter Camp considered him the greatest end ever.[38] Academically, he was accepted into Phi Beta Kappa[39] and Cap and Skull.[40] His classmates recognized him[41] by electing him class valedictorian.[42] The Daily Targum published a poem featuring his achievements.[43] In his valedictory speech, he exhorted his classmates to work for equality for all Americans.[44]

Columbia Law School and marriage (1919–1923)

Paul Robeson

refer to caption

Robeson in football uniform at Rutgers, c. 1919
No. 21, 17
Position: End / tackle
Personal information
Height: 6 ft 3 in (1.91 m)
Weight: 219 lb (99 kg)
Career information
High school: Somerville (NJ)
College: Rutgers
Career history
Career highlights and awards
Career NFL statistics
Games played: 15
Games started: 15
Touchdowns: 2[45]
Player stats at
Player stats at PFR

Robeson entered New York University School of Law in fall 1919.[46] To support himself, he became an assistant football coach at Lincoln,[47] where he joined the Alpha Phi Alpha fraternity.[48] However, Robeson felt uncomfortable at NYU[49] and moved to Harlem and transferred to Columbia Law School in February 1920.[50] Already known in the black community for his singing,[51] he was selected to perform at the dedication of the Harlem YWCA.[52]

Robeson began dating Eslanda "Essie" Goode[53] and after her coaxing,[54] he gave his theatrical debut as Simon in Ridgely Torrence's Simon of Cyrene.[55] After a year of courtship, they were married in August 1921.[56]

He was recruited by Pollard to play for the NFL's Akron Pros while Robeson continued his law studies.[57] In the spring, Robeson postponed school[58] to portray Jim in Mary Hoyt Wiborg's Taboo.[59] He then sang in a chorus in an Off-Broadway production of Shuffle Along[60] before he joined Taboo in Britain.[61] The play was adapted by Mrs. Patrick Campbell to highlight his singing.[62] After the play ended, he befriended Lawrence Brown,[63] a classically trained musician,[64] before returning to Columbia while playing for the NFL's Milwaukee Badgers.[65] He ended his football career after 1922,[66] and months later, he graduated from law school.[67]

Theatrical success and ideological transformation (1923–1939)

Harlem Renaissance (1923–1927)

Robeson worked briefly as a lawyer, but he renounced a career in law due to extant racism.[68] Essie financially supported them and they frequented the social functions at the future Schomburg Center.[69] In December 1924 he landed the lead role of Jim in Eugene O'Neill's All God's Chillun Got Wings,[70] which culminated with Jim metaphorically consummating his marriage with his white wife by symbolically emasculating himself. Chillun's opening was postponed while a nationwide debate occurred over its plot.[71]

Chillun's delay led to a revival of The Emperor Jones with Robeson as Brutus, a role pioneered by Charles Sidney Gilpin.[72] The role terrified and galvanized Robeson, as it was practically a 90-minute soliloquy.[73] Reviews declared him an unequivocal success.[74] Though arguably clouded by its controversial subject, his Jim in Chillun was less well received.[75] He deflected criticism of its plot by writing that fate had drawn him to the "untrodden path" of drama and the true measure of a culture is in its artistic contributions, and the only true American culture was African-American.[76]

The success of his acting placed him in elite social circles[77] and his ascension to fame, which was forcefully aided by Essie,[78] had occurred at a startling pace.[79] Essie's ambition for Robeson was a startling dichotomy to his indifference.[80] She quit her job, became his agent, and negotiated his first movie role in a silent race film directed by Oscar Micheaux, Body and Soul.[81] To support a charity for single mothers, he headlined a concert singing spirituals.[82] He performed his repertoire of spirituals on the radio.[83]

Lawrence Brown, who had become renowned while touring as a pianist with gospel singer Roland Hayes, stumbled upon Robeson in Harlem.[84] The two ad-libbed a set of spirituals, with Robeson as lead and Brown as accompanist. This so enthralled them that they booked Provincetown Playhouse for a concert.[85] The pair's rendition of African-American folk songs and spirituals was captivating,[86] and Victor Records signed Robeson to a contract.[87]

The Robesons went to London for a revival of Jones, before spending the rest of the fall on holiday on the French Riviera, socializing with Gertrude Stein and Claude McKay.[88] Robeson and Brown performed a series of concert tours in America from January 1926 until May 1927.[89]

Birth of his son (1927)

During a hiatus in New York, Robeson learned that Essie was several months pregnant.[90] Paul Robeson, Jr. was born in November 1927 in New York, while Robeson and Brown toured Europe.[91] Essie experienced complications from the birth,[92] and by mid-December, her health had deteriorated dramatically. Ignoring Essie's objections, her mother wired Robeson and he immediately returned to her bedside.[93] Essie completely recovered after a few months.

Show Boat, Othello, and marriage difficulties (1928–1932)

Robeson played "Joe" in the London production of the American musical Show Boat, at the Theatre Royal, Drury Lane.[94] His rendition of "Ol' Man River" became the benchmark for all future performers of the song.[95] Some black critics were not pleased with the play due to its usage of the word nigger.[96] It was, nonetheless, immensely popular with white audiences.[97] He was summoned for a Royal Command Performance at Buckingham Palace[98] as Robeson was befriended by MPs from the House of Commons.[99] Show Boat continued for 350 performances and, as of 2001, it remained the Royal's most profitable venture.[95] The Robesons bought a home in Hampstead.[100] He reflected on his life in his diary and wrote that it was all part of a "higher plan" and "God watches over me and guides me. He's with me and lets me fight my own battles and hopes I'll win."[101] However, an incident at the Savoy Grill, in which he was refused seating, sparked him to issue a press release portraying the insult which subsequently became a matter of public debate.[102]

Essie had learned early in their marriage that Robeson had been involved in extramarital affairs, but she tolerated them.[103] However, when she discovered that he was having another affair, she unfavorably altered the characterization of him in his biography,[104] and defamed him by describing him with "negative racial stereotypes".[105] Despite her uncovering of this tryst, there was no public evidence that their relationship had soured.[106] In early 1930, they both appeared in the experimental classic Borderline,[107] and then returned to the West End for his starring role in Shakespeare's Othello, opposite Peggy Ashcroft as Desdemona.[108]

Robeson became the first black actor cast as Othello in Britain since Ira Aldridge.[109] The production received mixed reviews which pointed out Robeson's "highly civilized quality [but lacking the] grand style."[110] Robeson stated the best way to diminish the oppression African Americans faced was for his artistic work to be an example of what "men of my colour" could accomplish rather than to "be a propagandist and make speeches and write articles about what they call the Colour Question."[111]

After Essie's discovery of Robeson's affair with Ashcroft, she decided to seek a divorce and they split up.[112] Robeson returned to Broadway as Joe in the 1932 revival of Show Boat, to critical and popular acclaim.[113] Subsequently, he received, with immense pride, an honorary master's degree from Rutgers.[114] Thereabout, his former football coach, Foster Sanford, advised him that divorcing Essie and marrying Ashcroft would do irreparable damage to his reputation.[115] Ashcroft and Robeson's relationship ended in 1932,[116] following which Robeson and Essie reconciled, although their relationship was permanently scarred.[117]

Ideological awakening (1933–1937)

In 1933 Robeson played the role of Jim in the London production of Chillun, virtually gratis;[118] then returned to the United States to star as Brutus in the film The Emperor Jones,[119] "a feat not repeated for more than two decades in the U.S."[120] His acting in "Jones"—the first film to feature an African American in a starring role—was well received.[120] On the film set he rejected any slight to his dignity, despite the widespread Jim Crow atmosphere in the United States.[121] Upon returning to England he publicly criticized African Americans' rejection of their own culture.[122] Despite negative reactions from the press, such as a New York Amsterdam News retort that Robeson had made a "jolly well [ass of himself]",[123] he also announced that he would reject any offers to perform European opera, because the music had no connection to his heritage.[124]

In early 1934 Robeson enrolled in the School of Oriental and African Studies in London, where he studied some 20 African dialects. His "sudden interest" in African history and its impact on culture[125] coincided with his essay "I Want to be African", wherein he wrote of his desire to embrace his ancestry.[126]

Robeson and actress Irén Ágay on the set of Sanders of the River, London, 1934

He undertook the role of Bosambo in the movie Sanders of the River,[127] which he felt would render a realistic view of colonial African culture. His friends in the anti-imperialism movement and association with British socialists led him to visit the Soviet Union.[126] Robeson, Essie, and Marie Seton traveled to the Soviet Union on an invitation from Sergei Eisenstein in December 1934.[128] A stopover in Berlin enlightened Robeson to the racism in Nazi Germany[129] and, on his arrival in the Soviet Union, he expounded on race and what he felt in Moscow, where he said, "Here I am not a Negro but a human being for the first time in my life .. I walk in full human dignity."[130] Waldemar ("Wally") Hille, who subsequently went on to do arrangements on the People's Songs Bulletin with Pete Seeger and others, got his start as an early touring pianist for Robeson.

Sanders of the River, released in 1935, made Robeson an international movie star;[131] but the stereotypical portrayal of a colonial African[132] was seen as embarrassing to his stature as an artist[133] and damaging to his reputation.[134] The Commissioner of Nigeria to London protested the film as slanderous to his country,[135] and Robeson thereafter became more politically conscious of his roles.[136] He appeared in the play Stevedore at the Embassy Theatre in London in May 1935,[137] which was favorably reviewed in The Crisis by Nancy Cunard, who concluded: "Stevedore is extremely valuable in the racial–social question — it is straight from the shoulder".[138] In early 1936, he decided to send his son to school in the Soviet Union to shield him from racist attitudes.[139] He then played the role of Toussaint Louverture in the eponymous play by C. L. R. James[140] at the Westminster Theatre, and appeared in the films Song of Freedom,[141] Show Boat,[142] Big Fella,[143] My Song Goes Forth,[144] and King Solomon's Mines.[145] He was internationally recognized as the 10th most popular star in British cinema.[146]

The Spanish Civil War and political activism (1937–1939)

Robeson believed that the struggle against fascism during the Spanish Civil War was a turning point in his life and transformed him into a political activist.[147] In 1937, he used his concert performances to advocate the Republican cause and the war's refugees.[148] He permanently modified his renditions of Ol' Man River from a tragic "song of resignation with a hint of protest implied" into a battle hymn of unwavering defiance.[149] His business agent expressed concern about his political involvement,[150] but Robeson overruled him and decided that contemporary events trumped commercialism.[151] In Wales,[152] he commemorated the Welsh killed while fighting for the Republicans,[153] where he recorded a message which would become his epitaph: "The artist must take sides. He must elect to fight for freedom or slavery. I have made my choice. I had no alternative."[154]

After an invitation from J. B. S. Haldane,[155] he traveled to Spain in 1938 because he believed in the International Brigades's cause, [156] visited the hospital of the Benicàssim, singing to the wounded soldiers.[157] Also visited the battlefront[158] and provided a morale boost to the Republicans at a time when their victory was unlikely.[159] Back in England, he hosted Jawaharlal Nehru to support Indian independence, whereat Nehru expounded on imperialism's affiliation with Fascism.[160] Robeson reevaluated the direction of his career and decided to focus his attention on utilizing his talents to bring attention to the ordeals of "common people".[161] and subsequently he appeared in the pro-labor play Plant in the Sun[162] by Herbert Marshall.[163] With Max Yergan, and the CAA, Robeson became an advocate in the aspirations of African colonialists for political independence.[164]

World War II, the Broadway Othello, political activism, and McCarthyism (1939–1957)

World War II and the Broadway Othello (1939–1945)

Robeson leading Moore Shipyard Oakland, California workers in singing the Star Spangled Banner, September 1942. Robeson, too, was a shipyard worker in World War I.
Paul Robeson with Uta Hagen in the Theatre Guild production of Othello (1943–4).

Robeson's last British film was The Proud Valley (released 1940), set in a Welsh coal-mining town.[165] After the outbreak of World War II, Robeson returned to the United States and became America's "no.1 entertainer"[166] with a radio broadcast of Ballad for Americans.[167] Nevertheless, during an ensuing tour, the Beverly Wilshire Hotel was the only hotel willing to accommodate him due to his race, and he therefore dedicated two hours every afternoon sitting in the lobby "to ensure that the next time Black[s] come through, they'll have a place to stay."

Furthermore, Native Land was labeled by the FBI as communist propaganda.[168] After an appearance in Tales of Manhattan, a production that he felt was "very offensive to my people", he announced that he would no longer act in films because of the demeaning roles available to blacks.[169]

Robeson participated in benefit concerts on behalf of the war effort and at a concert at the Polo Grounds, he met two emissaries from the Jewish Anti-Fascist Committee, Solomon Mikhoels and Itzik Feffer[170] Subsequently, Robeson reprised his role of Othello at the Shubert Theatre in 1943,[171] and became the first African American to play the role with a white supporting cast on Broadway. During the same period of time, he addressed a meeting with Kenesaw Mountain Landis in a failed attempt to convince him to admit black players to Major League Baseball.[172] He toured North America with Othello until 1945,[173] and subsequently, his political efforts with the CAA to get colonial powers to discontinue their exploitation of Africa were short-circuited by the United Nations.[174]

Attorney General's List of Subversive Organizations (1946–1949)

After the lynchings of four African Americans, Robeson met with President Truman and admonished Truman that if he did not enact legislation to end lynching,[175] "the Negroes will defend themselves".[175][176] Truman immediately terminated the meeting and declared the time was not right to propose anti-lynching legislation.[175] Subsequently, Robeson publicly called upon all Americans to demand that Congress pass civil rights legislation.[177] Taking a stance against lynching, Robeson founded the American Crusade Against Lynching organization in 1946. This organization was thought to be a threat to the NAACP antiviolence movement. Robeson received support from W. E. B. Du Bois regarding this matter and officially launched this organization on the anniversary day of the Emancipation Proclamation, September 23.[178]

About this time, Robeson's belief that trade unionism was crucial to civil rights became a mainstay of his political beliefs as he became proponent of the union activist Revels Cayton.[179] Robeson was later called before the Tenney Committee where he responded to questions about his affiliation with the Communist Party USA (CPUSA) by testifying that he was not a member of the CPUSA.[180] Nevertheless, two organizations with which Robeson was intimately involved, the Civil Rights Congress (CRC) and the CAA,[181] were placed on the Attorney General's List of Subversive Organizations (AGLOSO).[182] Subsequently, he was summoned before the United States Senate Committee on the Judiciary, and when questioned about his affiliation with the Communist Party, he refused to answer, stating: "Some of the most brilliant and distinguished Americans are about to go to jail for the failure to answer that question, and I am going to join them, if necessary."[183]

In 1948, Robeson was preeminent in Henry A. Wallace's bid for the President of the United States,[184] during which Robeson traveled to the Deep South, at risk to his own life, to campaign for him.[185] In the ensuing year, Robeson was forced to go overseas to work because his concert performances were canceled at the FBI's behest.[186] While on tour, he spoke at the World Peace Council,[187] at which his speech was publicly reported as equating America with a Fascist state[188]—a depiction that he flatly denied.[189] Nevertheless, the speech publicly attributed to him was a catalyst for his becoming an enemy of mainstream America.[190] Robeson refused to subjugate himself to public criticism when he advocated in favor of twelve defendants, including his long-time friend, Benjamin J. Davis, Jr. charged during the Smith Act trials of Communist Party leaders.

Label of a record by Paul Robeson published by Soviet Ministry of Culture

Robeson traveled to Moscow in June, and was unable to find Itzik Feffer. He let Soviet authorities know that he wanted to see him.[191] Reluctant to lose Robeson as a propagandist for the Soviet Union,[192] the Soviets brought Feffer from prison to him. Feffer told him that Mikhoels had been murdered, and he would be summarily executed.[193] To protect the Soviet Union's reputation,[194] and to keep the right wing of the United States from gaining the moral high ground, Robeson denied that any persecution existed in the Soviet Union,[195] and kept the meeting secret for the rest of his life, except from his son.[194] On June 20, 1949, Robeson spoke at the Paris Peace Congress saying that "We in America do not forget that it was on the backs of the white workers from Europe and on the backs of millions of Blacks that the wealth of America was built. And we are resolved to share it equally. We reject any hysterical raving that urges us to make war on anyone. Our will to fight for peace is strong. We shall not make war on anyone. We shall not make war on the Soviet Union. We oppose those who wish to build up imperialist Germany and to establish fascism in Greece. We wish peace with Franco's Spain despite her fascism. We shall support peace and friendship among all nations, with Soviet Russia and the people's Republics." He was blacklisted for saying this in the US mainstream press including many periodicals of the Negro press such as The Crisis.[196]

In order to isolate Robeson politically,[197] the House Un-American Activities Committee (HUAC) subpoenad Jackie Robinson[198] to comment on Robeson's Paris speech.[198] Robinson testified that Robeson's statements, "'if accurately reported', were silly'".[197] Days later, the announcement of a concert headlined by Robeson in New York provoked the local press to decry the use of their community to support subversives[199] and the Peekskill Riots ensued.[200]

Blacklisted (1950–1955)

A book reviewed in early 1950 as "the most complete record on college football"[201] failed to list Robeson as ever having played on the Rutgers team[202] and as ever having been an All-American.[203] Months later, NBC canceled Robeson's appearance on Eleanor Roosevelt's television program.[204] Subsequently, the State Department (State) denied Robeson a passport to travel abroad and issued a "stop notice" at all ports because it believed that an isolated existence inside United States borders would not only afford him less freedom of expression[205] but also avenge his "extreme advocacy on behalf of the independence of the colonial peoples of Africa."[206] However, when Robeson met with State and asked why he was denied a passport, he was told that "his frequent criticism of the treatment of blacks in the United States should not be aired in foreign countries".[207]

In 1951, an article titled "Paul Robeson – the Lost Shepherd" was published in The Crisis[208] although Paul Jr. suspected it was authored by Amsterdam News columnist Earl Brown.[209] J. Edgar Hoover and the United States State Department arranged for the article to be printed and distributed in Africa[210] in order to defame Robeson's reputation and reduce his and Communists' popularity in colonial countries.[211] Another article by Wilkins denounced Robeson as well as the Communist Party USA (CPUSA) in terms consistent with the anti-Communist FBI propaganda.[212]

On December 17, 1951, Robeson presented to the United Nations an anti-lynching petition, "We Charge Genocide".[213] The document asserted that the United States federal government, by its failure to act against lynching in the United States, was "guilty of genocide" under Article II of the UN Genocide Convention.

In 1952, Robeson was awarded the International Stalin Prize by the Soviet Union.[214] Unable to travel to Moscow, he accepted the award in New York.[215] In April 1953, shortly after Stalin's death, Robeson penned To You My Beloved Comrade, praising Stalin as dedicated to peace and a guide to the world: "Through his deep humanity, by his wise understanding, he leaves us a rich and monumental heritage."[216] Robeson's opinion on the Soviet Union kept his passport out of reach and stopped his return to the entertainment industry and the civil rights movement.[217] In his opinion, the Soviet Union was the guarantor of political balance in the world.[218]

In a symbolic act of defiance against the travel ban, labor unions in the United States and Canada organized a concert at the International Peace Arch on the border between Washington state and the Canadian province of British Columbia.[219] Robeson returned to perform a second concert at the Peace Arch in 1953,[220] and over the next two years, two further concerts were scheduled. In this period, with the encouragement of his friend the Welsh politician Aneurin Bevan, Robeson recorded a number of radio concerts for supporters in Wales.

End of McCarthyism (1956–1957)

In 1956, Robeson was called before HUAC after he refused to sign an affidavit affirming that he was not a Communist. In his testimony, he invoked the Fifth Amendment and refused to reveal his political affiliations. When asked why he had not remained in the Soviet Union because of his affinity with its political ideology, he replied that "because my father was a slave and my people died to build [the United States and], I am going to stay here, and have a part of it just like you and no fascist-minded people will drive me from it!"[221] Robeson's passport was subsequently revoked. Campaigns were launched to protest the passport ban and the restriction of his right to travel over the next four years, but it was to no avail. In 1957, unable to accept invitations to perform abroad, Paul Robeson sang for audiences in London, where 1,000 concert tickets for his telephone concert at St Pancras Town Hall sold out within an hour,[222] and Wales via the transatlantic telephone cable TAT-1:[223] "We have to learn the hard way that there is another way to sing".[224]

In 1956 in the United Kingdom, Topic Records, at that time part of the Workers Music Association, released a single of "Joe Hill", written by Alfred Hayes and Earl Robinson, backed with "John Brown's Body". Joe Hill was a labor activist in the early 20th century, and versions of "Joe Hill" are the third most popular selection on the BBC radio programme Desert Island Discs among British Labour Party politicians, and the fourth most popular selection for all British politicians. Robeson's version was selected by Ed Miliband.[225]

Nikita Khrushchev's denunciation of Stalinism at the 1956 Party Congress silenced Robeson on Stalin, though Robeson continued to praise the Soviet Union.[226] In 1956, after public pressure brought a one-time exemption to the travel ban, Robeson performed concerts in Canada in March. That year Robeson, along with close friend W. E. B. Du Bois, compared the anti-Soviet uprising in Hungary to the "same sort of people who overthrew the Spanish Republican Government" and supported the Soviet invasion and suppression of the revolt.[227]

An appeal to the Supreme Court of the United States to reinstate his confiscated passport had been rejected, but over the telephone Robeson was able to sing to the 5,000 gathered there as he had earlier in the year to London. Due to the reaction to the promulgation of Robeson's political views, his recordings and films were removed from public distribution, and he was universally condemned in the U.S press. During the height of the Cold War, it became increasingly difficult in the United States to hear Robeson sing on commercial radio, buy his music or see his films.[228]

Later years (1958–1976)

Comeback tours (1958–1960)

1958 saw the publication of Robeson's "manifesto-autobiography", Here I Stand.[229] His passport was restored in June 1958 via Kent v. Dulles,[230] and he embarked on a world tour using London as his base.[231] In Moscow in August 1959, he received a tumultuous reception at the Lenin Stadium (Khabarovsk) where he sang classic Russian songs along with American standards.[232] Robeson and Essie then flew to Yalta to rest and spend time with Nikita Khrushchev.

On October 11, 1959, Robeson took part in a service at St. Paul's Cathedral, the first black performer to sing there.[233] On a trip to Moscow, Robeson experienced bouts of dizziness and heart problems and was hospitalized for two months while Essie was diagnosed with operable cancer.[234] He recovered and returned to the UK to visit the National Eisteddfod.

Meanwhile, the State Department had circulated negative literature about him throughout the media in India.[235]

During his run at the Royal Shakespeare Company playing Othello in Tony Richardson's 1959 production at Stratford-upon-Avon, he befriended actor Andrew Faulds, whose family hosted him in the nearby village of Shottery. In 1960, in what would prove to be his final concert performance in Great Britain, Robeson sang to raise money for the Movement for Colonial Freedom at the Royal Festival Hall.

In October 1960, Robeson embarked on a two-month concert tour of Australia and New Zealand with Essie, primarily to generate money,[236] at the behest of Australian politician Bill Morrow.[237] While in Sydney, he became the first major artist to perform at the construction site of the future Sydney Opera House.[238] After appearing at the Brisbane Festival Hall, they went to Auckland where Robeson reaffirmed his support of Marxism,[239] denounced the inequality faced by the Māori and efforts to denigrate their culture.[240] Thereabouts, Robeson publicly stated "..the people of the lands of Socialism want peace dearly".[241]

He was introduced to Faith Bandler who enlightened the Robesons to the deprivation of the Australian Aborigines.[242] Robeson, consequently, became enraged and demanded the Australian government provide the Aborigines citizenship and equal rights.[243] He attacked the view of the Aborigines as being unsophisticated and uncultured, and declared, "there's no such thing as a backward human being, there is only a society which says they are backward."

Health breakdown (1961–1963)

Back in London, he planned his return to the United States to participate in the Civil Rights Movement, stopping off in Africa, China and Cuba along the way. Essie argued to stay in London, fearing that he'd be "killed" if he returned and would be "unable to make any money" due to harassment by the United States government. Robeson disagreed and made his own travel arrangements, stopping off in Moscow in March 1961.[244]

During an uncharacteristically wild party in his Moscow hotel room, he locked himself in his bedroom and attempted suicide by cutting his wrists.[245] Three days later, under Soviet medical care, he told his son that he felt extreme paranoia, thought that the walls of the room were moving and, overcome by a powerful sense of emptiness and depression, tried to take his own life.[246]

Paul Jr. believed that his father's health problems stemmed from attempts by CIA and MI5 to "neutralize" his father.[247][248] He remembered that his father had had such fears prior to his prostate operation.[249] He said that three doctors treating Robeson in London and New York had been CIA contractors,[247] and that his father's symptoms resulted from being "subjected to mind depatterning under MKULTRA", a secret CIA programme.[250] Martin Duberman claimed that Robeson's health breakdown was probably brought on by a combination of factors including extreme emotional and physical stress, bipolar depression, exhaustion and the beginning of circulatory and heart problems. "[E]ven without an organic predisposition and accumulated pressures of government harassment he might have been susceptible to a breakdown."[251]

Robeson stayed at the Barvikha Sanatorium until September 1961, when he left for London. There his depression reemerged, and after another period of recuperation in Moscow, he returned to London. Three days after arriving back, he became suicidal and suffered a panic attack while passing the Soviet Embassy.[252] He was admitted to The Priory hospital, where he underwent electroconvulsive therapy (ECT) and was given heavy doses of drugs for nearly two years, with no accompanying psychotherapy.[253]

During his treatment at the Priory, Robeson was being monitored by the British MI5.[254] Both intelligence services were well aware of Robeson's suicidal state of mind. An FBI memo described Robeson's debilitated condition, remarking that his "death would be much publicized" and would be used for Communist propaganda, necessitating continued surveillance.[255] Numerous memos advised that Robeson should be denied a passport renewal which would ostensibly jeopardize his fragile health and his recovery process.[245]

In August 1963, disturbed about his treatment, friends had him transferred to the Buch Clinic in East Berlin.[256][257] Given psychotherapy and less medication, his physicians found him still "completely without initiative" and they expressed "doubt and anger" about the "high level of barbiturates and ECT" that had been administered in London. He rapidly improved, though his doctor stressed that "what little is left of Paul's health must be quietly conserved."[258]

Retirement (1963–1976)

The Robeson House, Philadelphia

In 1963, Robeson returned to the United States and for the remainder of his life lived in seclusion.[259] He momentarily assumed a role in the civil rights movement,[247] making a few major public appearances before falling seriously ill during a tour. Double pneumonia and a kidney blockage in 1965 nearly killed him.[259]

Robeson was contacted by both Bayard Rustin and James L. Farmer, Jr. about the possibility of becoming involved with the mainstream of the Civil Rights movement.[260] Because of Rustin's past anti-Communist stances, Robeson declined to meet with him. Robeson eventually met with Farmer, but because he was asked to denounce Communism and the Soviet Union in order to assume a place in the mainstream, Robeson adamantly declined.[261]

After Essie, who had been his spokesperson to the media, died in December 1965,[262] Robeson moved in with his son's family in New York City.[263][257] He was rarely seen strolling near his Harlem apartment on Jumal Place (sic.), and his son responded to press inquiries that his "father's health does not permit him to perform or answer questions."[257]

In 1968, he settled at his sister's home in Philadelphia.[264][257] Numerous celebrations were held in honor of Robeson over the next several years, including at public arenas that had previously shunned him, but he saw few visitors aside from close friends and gave few statements apart from messages to support current civil rights and international movements, feeling that his record "spoke for itself".[265] At a Carnegie Hall tribute to mark his 75th birthday in 1973, he was unable to attend, but a taped message from him was played that said: "Though I have not been able to be active for several years, I want you to know that I am the same Paul, dedicated as ever to the worldwide cause of humanity for freedom, peace and brotherhood."[266]

Death, funeral, and public response

On January 23, 1976, following complications of a stroke, Robeson died in Philadelphia at the age of 77.[267] He lay in state in Harlem[268] and his funeral was held at his brother Ben's former parsonage, Mother AME Zion Church,[269] where Bishop J. Clinton Hoggard performed the eulogy.[270] His twelve pall bearers included Harry Belafonte[271] and Pollard.[272] He was interred in the Ferncliff Cemetery in Hartsdale, New York.[271] According to biographer, Martin Duberman, contemporary post-mortem reflections on Robeson's life in "[t]he white [American] press..ignored the continuing inability of white America to tolerate a black maverick who refused to bend, ..downplayed the racist component central to his persecution [during his life]", as they "paid him gingerly respect and tipped their hat to him as a 'great American,'" while the black American press, "which had never, overall, been as hostile to Robeson [as the white American press had], opined that his life '..would always be a challenge to white and Black America.'"[269]

Legacy and honors

The Robeson holdings in the archive of the Academy of the Arts of the German Democratic Republic, 1981

Early in his life, Robeson was one of the most influential participants in the Harlem Renaissance.[273] His achievements in sport and culture were all the more incredible given the barriers of racism he had to surmount.[274] Robeson brought Negro spirituals into the American mainstream .[275] His theatrical performances have been recognized as the first to display dignity for black actors and pride in African heritage,[276] and he was among the first artists to refuse to play live to segregated audiences.

After McCarthyism, [Robeson's stand] on anti-colonialism in the 1940s would never again have a voice in American politics, but the [African independence movements] of the late 1950s and 1960s would vindicate his anti-colonial [agenda].[277]

Several public and private establishments he was associated with have been landmarked,[278] or named after him.[279] His efforts to end Apartheid in South Africa were posthumously rewarded by the United Nations General Assembly.[280] Paul Robeson: Tribute to an Artist won an Academy Award for best short documentary in 1980.[281] In 1995, he was named to the College Football Hall of Fame.[282] In the centenary of his birth, which was commemorated around the world,[283] he was awarded a Lifetime Achievement Grammy Award,[284] as well as a star on the Hollywood Walk of Fame.[285] Robeson is also a member of the American Theater Hall of Fame.[286]

As of 2011 the run of Othello starring Robeson was the longest-running production of a Shakespeare play ever staged on Broadway.[287] He received a Donaldson Award for his performance.[288] His Othello was characterised by Michael A. Morrison in 2011 as a high point in Shakespearean theatre in the 20th century.[289]

Subsequently, he received the Spingarn medal from the NAACP.[290] His starring role as an African American in the film "was a feat not repeated for more than two decades in the U.S.[120] Paul Robeson: Tribute to an Artist won an Academy Award for best short documentary in 1980.

Robeson left Australia as a respected, albeit controversial, figure and his support for Aboriginal rights had a profound effect in Australia over the next decade.[291]

Robeson archives exist at the Academy of Arts;[292] Howard University,[293] and the Schomburg Center.[294] In 2010, Susan Robeson launched a project by Swansea University and the Welsh Assembly to create an online learning resource in her grandfather's memory.[295]

Robeson connected his own life and history not only to his fellow Americans and to his people in the South, but to all the people of Africa and its diaspora whose lives had been fundamentally shaped by the same processes that had brought his ancestors to America.[296] While a consensus definition of his legacy remains controversial,[297] to deny his courage in the face of public and governmental pressure would be to defame his courage.[298]

In 1976, the apartment building on Edgecombe Avenue in the Washington Heights section of Manhattan where Robeson lived during the early 1940s was officially renamed the Paul Robeson Residence, and declared a National Historic Landmark.[299][300][301] In 1993, the building was designated a New York City landmark as well.[302] Edgecombe Avenue itself was later co-named Paul Robeson Boulevard.

In 1978, TASS announced that the Latvian Shipping Company had named one of its new 40,000-ton tankers Paul Robeson in honor of the singer. TASS said the ship's crew would establish a Robeson museum aboard the tanker.[303]

In 2001, the Welsh rock band Manic Street Preachers released the single Let Robeson Sing from their album Know Your Enemy. The song is about the life of Paul Robeson.

In 2002, a blue plaque was unveiled by English Heritage on the house in Hampstead where Robeson lived in 1929–1930.[304]

In 2004, the U.S. Postal Service issued a 37-cent stamp honoring Robeson.[305]

In 2007, the Criterion Collection, a company that specializes in releasing special edition versions of classic and contemporary films, released a DVD boxed set of Robeson films.[306]

The main campus library at Rutgers University Camden is named after Robeson,[307] as is the campus center at Rutgers University Newark.[308]

In popular culture

Tom Rob Smith's novel Agent 6 (2012) features the character "Jesse Austin, a black singer, political activist and communist sympathizer modeled after real-life actor/activist Paul Robeson. In his portrayal of Austin, Smith dramatizes little-known facts of the FBI's harassment of Robeson and his family that give a chilling verisimilitude to the actions of an FBI agent hellbent on destroying a perceived threat to his country."[309]

Black 47's album Home of The Brave includes the song "Paul Robeson (Born To Be Free)", which features spoken quotes of Robeson as part of the song.[310] These quotes are drawn from Robeson's testimony before the House Un-American Activities Committee in June 1956.

In 1978, James Earl Jones performed his one-man show about Paul Robeson on Broadway, this was made into a TV movie in 1979.

In November 2014 it was reported that film director Steve McQueen's next film would be a biopic about Paul Robeson.[311]

In 2001, Welsh rock band Manic Street Preachers released a song titled Let Robeson Sing as a tribute to Robeson, which reached number 19 on the UK singles chart.


See also


  1. 1 2 Robeson, Jr. 2001, p. 3; cf. Boyle & Bunie 2005, p. 18, Duberman 1989, pp. 4–5
  2. Brown 1997, pp. 5–6, 145–149; cf. Robeson, Jr. 2001, pp. 4–5; Boyle & Bunie 2005, pp. 10–12
  3. Robeson, Jr. 2001, pp. 4, 337–338; cf. Boyle & Bunie 2005, p. 4, Duberman 1989, p. 4, Brown 1997, pp. 9–10
  4. Boyle & Bunie 2005, pp. 5–6, 14; cf. Robeson, Jr. 2001, pp. 4–5, Duberman 1989, pp. 4–6, Brown 1997, pp. 17, 26
  5. Robeson, Jr. 2001, p. 3; cf. Boyle & Bunie 2005, p. 18, Brown 1997, p. 21
  6. Duberman 1989, pp. 6–7; cf. Robeson, Jr. 2001, pp. 5–6, Boyle & Bunie 2005, pp. 18–20
  7. Boyle & Bunie 2005, pp. 16–17; cf. Duberman 1989, p. 12
  8. Robeson, Jr. 2001, pp. 5–6; cf. Duberman 1989, pp. 6–9, Boyle & Bunie 2005, pp. 18–20, Brown 1997, p. 26
  9. Duberman 1989, p. 9; cf. Boyle & Bunie 2005, p. 21, Robeson, Jr. 2001, pp. 6–7, Brown 1997, p. 28
  10. Boyle & Bunie 2005, pp. 22–23; cf. Duberman 1989, p. 8, Robeson, Jr. 2001, pp. 7–8, Brown 1997, pp. 25–29; cf. Robeson 1958, p. 7
  11. Robeson, Jr. 2001, p. 11; cf. Duberman 1989, p. 9, Boyle & Bunie 2005, pp. 27–29
  12. Duberman 1989, pp. 9–10; cf. Brown 1997, p. 39, Robeson, Jr. 2001, pp. 13–14
  13. Robeson, Jr. 2001, p. 17; cf. Duberman 1989, p. 30, Brown 1997, pp. 46–47
  14. Boyle & Bunie 2005, pp. 37–38; cf. Duberman 1989, p. 12, Brown 1997, pp. 49–51
  15. Duberman 1989, pp. 13–16; cf. Boyle & Bunie 2005, pp. 34–36, Brown 1997, pp. 43, 46, 48–49
  16. Boyle & Bunie 2005, pp. 37–38; cf. Robeson, Jr. 2001, p. 16, Duberman 1989, pp. 13–16, Brown 1997, pp. 46–47
  17. Boyle & Bunie 2005, pp. 41–42; cf. Brown 1997, pp. 54–55, Duberman 1989, p. 17, Robeson, Jr. 2001, pp. 17–18; contra. The dispute is over whether it was a one-year or four-year scholarship. Robeson Found Emphasis to Win Too Great in College Football 1926-03-13
  18. Duberman 1989, p. 11; cf. Boyle & Bunie 2005, pp. 40–41, Robeson 1958, pp. 18–19, Brown 1997, pp. 53–54, 65, Carroll 1998, p. 58
  19. Duberman 1989, p. 19; cf. Brown 1997, pp. 60, 64, Gilliam 1978, Robeson, Jr. 2001, p. 20
  20. Boyle & Bunie 2005, pp. 45–49; cf. Duberman 1989, pp. 19, 24, Brown 1997, pp. 60, 65
  21. Duberman 1989, pp. 20–21; cf. Boyle & Bunie 2005, pp. 49–50, Brown 1997, pp. 61–63
  22. Van Gelder, Robert (1944-01-16). "Robeson Remembers: An interview with the Star of Othello, Partly about his Past". New York Times. pp. X1.; cf. Boyle & Bunie 2005, pp. 49–50, Duberman 1989, pp. 20–21, Robeson, Jr. 2001, pp. 22–23
  23. Yeakey, Lamont H. (Autumn 1973). "A Student Without Peer: The Undergraduate College Years of Paul Robeson" (PDF). Journal of Negro Education. 42 (4): 499. JSTOR 2966562.
  24. Duberman 1989, p. 24; cf. Boyle & Bunie 2005, p. 54, Brown 1997, p. 71, Robeson, Jr. 2001, pp. 28, 31–32
  25. Boyle & Bunie 2005, p. 54; cf. Duberman 1989, p. 24, Levy 2000, pp. 1–2, Brown 1997, p. 71, Robeson, Jr. 2001, p. 28
  26. Duberman 1989, p. 24; cf. Boyle & Bunie 2005, p. 54, Brown 1997, p. 70, Robeson, Jr. 2001, p. 35
  27. Brown & 1997, pp. 68–70; Duberman 1989, pp. 22–23, Boyle & Bunie 2005, pp. 59–60, Robeson, Jr. 2001, p. 27, Pitt 1972, p. 42
  28. Duberman 1989, pp. 22, 573; cf. Robeson, Jr. 2001, pp. 29–30, Brown 1997, pp. 74–82, Boyle & Bunie 2005, pp. 65–66
  29. Du Bois, W. E. B. (March 1918). "Men of the Month". 15 (5). The Crisis Publishing Company, Inc.: 229. ISSN 0011-1422.; cf. CITEREFMarable2005
  30. Boyle & Bunie 2005, p. 68.
  31. Robeson, Jr. 2001, p. 33; cf. Duberman 1989, p. 25, Boyle & Bunie 2005, pp. 68–69, Brown 1997, pp. 85–87
  32. Boyle & Bunie 2005, p. 68–69.
  33. Robeson 1958, p. 6.
  34. Duberman 1989, p. 25; cf. Boyle & Bunie 2005, pp. 68–69, Brown 1997, pp. 86–87, Robeson, Jr. 2001, p. 33
  35. Duberman 1989, p. 24; cf. Boyle & Bunie 2005, pp. 69, 74, 437, Robeson, Jr. 2001, p. 35
  36. "Hall of Fame: Robeson". Record-Journal. 1995-01-19. p. 20.; The number of letters varies between 12 and 15 based on author; Duberman 1989, p. 22, Boyle & Bunie 2005, p. 73, Robeson, Jr. 2001, pp. 34–35
  37. Jenkins, Burris (1922-09-28). "Four Coaches—O'Neill of Columbia, Sanderson of Rutgers, Gargan of Fordham, and Thorp of N.Y.U.—Worrying About Outcome of Impending Battles". The Evening World. p. 24.
  38. Boyle & Bunie 2005, p. 66; cf. Duberman 1989, pp. 22–23, Robeson, Jr. 2001, pp. 30, 35
  39. "Who Belongs to Phi Beta Kappa?". The Phi Beta Kappa Society. Archived from the original on 2012-01-21., Brown 1997, p. 94, Boyle & Bunie 2005, p. 74, Duberman 1989, p. 24
  40. Boyle & Bunie 2005, p. 74; cf. Duberman 1989, p. 26, Brown 1997, p. 94
  41. Brown 1997, pp. 94–95; cf. Duberman 1989, p. 30, Boyle & Bunie 2005, pp. 75–76, Harris 1998, p. 47
  42. Duberman 1989, p. 26; cf. Boyle & Bunie 2005, p. 75, Brown 1997, p. 94, Robeson, Jr. 2001, p. 36
  43. Kirshenbaum, Jerry (1972-03-27). "Paul Robeson: Remaking A Fallen Hero". Sports Illustrated. 36 (13): 75–77.
  44. Robeson, Paul Leroy (1919-06-10). "The New Idealism". The Targum. 50 (1918–19): 570–571.; cf. Boyle & Bunie 2005, p. 76, Duberman 1989, pp. 26–27, Brown 1997, p. 95, Robeson, Jr. 2001, pp. 36–39
  45. "Thorpe-M'Millan Fight Great Duel: Robeson Scores Both Touchdowns for Locals Against Indians". The Milwaukee Sentinel. 1922-11-20. p. 7.; cf. Badgers Trim Thorpe's Team
  46. Robeson, Jr. 2001, p. 43; cf. Boyle and Bunie; 78–82, Brown 1997, p. 107
  47. Duberman 1989, p. 34; cf. Boyle & Bunie 2005, p. 82, Robeson, Jr. 2001, p. 44, Carroll 1998, pp. 140–141
  48. Brown 1997, p. 111; cf. Gilliam 1978, p. 25, Boyle & Bunie 2005, p. 53, Duberman 1989, p. 41
  49. Boyle & Bunie 2005, p. 82.
  50. Robeson, Jr. 2001, pp. 43–44; cf. Boyle & Bunie 2005, p. 82, Brown 1997, pp. 107–108
  51. Boyle & Bunie 2005, p. 143; cf. Robeson, Jr. 2001, p. 45
  52. Weisenfeld 1997, pp. 161–162.; cf. Robeson 1958, p. 2
  53. Duberman 1989, pp. 34–35, 37–38; cf. Boyle & Bunie 2005, pp. 87–89, Robeson, Jr. 2001, pp. 46–48
  54. Duberman 1989, p. 43.
  55. Peterson 1997, p. 93; cf. Robeson, Jr. 2001, pp. 48–49; cf. Boyle & Bunie 2005, pp. 89, 104, Who's Who New York Times 1924-05-11
  56. Robeson, Jr. 2001, pp. 50–52; cf. Duberman 1989, pp. 39–41; cf. Boyle & Bunie 2005, pp. 88–89, 94, Brown 1997, p. 119
  57. Levy 2000, p. 30; cf. Akron Pros 1920 by Bob Carrol, Carroll 1998, pp. 147–148, Robeson, Jr. 2001, p. 53
  58. Boyle & Bunie 2005, p. 104–105.
  59. Darnton, Charles (1922-04-05). "'Taboo' Casts Voodoo Spell". The Evening World. p. 24.; cf. Boyle & Bunie 2005, pp. 100–105, Review of TabooDuberman 1989, p. 43
  60. Wintz 2007, pp. 6–8; cf. Duberman 1989, pp. 44–45, Robeson, Jr. 2001, pp. 57–59, Boyle & Bunie 2005, pp. 98–100
  61. Duberman 1989, pp. 44–45; cf. Brown 1997, p. 120, Robeson, Jr. 2001, pp. 57–59, Boyle & Bunie 2005, pp. 100–101
  62. Boyle & Bunie 2005, pp. 105–107; cf. Brown 1997, p. 120, Duberman 1989, pp. 47–48, 50, Robeson, Jr. 2001, pp. 59, 63–64
  63. Brown 1997, pp. 120–121; cf. Boyle & Bunie 2005, pp. 105–106
  64. Boyle & Bunie 2005, p. 139.
  65. Boyle & Bunie 2005, pp. 108–109; cf. Robeson, Jr. 2001, pp. 68–69, Duberman 1989, pp. 34, 51, Carroll 1998, pp. 151–152
  66. Levy 2000, pp. 31–32; cf. Boyle & Bunie 2005, p. 111
  67. Duberman 1989, pp. 54–55; cf. Boyle & Bunie 2005, pp. 111–113, Robeson, Jr. 2001, Brown 1997, p. 122
  68. Boyle & Bunie 2005, pp. 111–114; cf. Duberman 1989, pp. 54–55, Robeson, Jr. 2001, pp. 71–72, Gilliam 1978, p. 29
  69. Boyle & Bunie 2005, p. 115; cf. History, Schomburg Unit Listed as Landmark: Spawning Ground of Talent 40 Seats Are Not Enough Plans for a Museum
  70. Duberman 1989, pp. 52–55; Boyle & Bunie 2005, pp. 111, 116–117; Robeson, Jr. 2001, p. 73
  71. "All God's Chillun". Time. March 17, 1924. The dramatic miscegenation will shortly be enacted ... [produced by the Provincetown Players, headed by O'Neill], dramatist; Robert Edmund Jones, artist, and Kenneth Macgowan, author. Many white people do not like the [plot]. Neither do many black.; Duberman 1989, pp. 57–59, Boyle & Bunie 2005, pp. 118–121, Gilliam 1978, pp. 32–33
  72. Robeson, Jr. 2001, pp. 73–76; cf. Gilliam 1978, pp. 36–37, Duberman 1989, pp. 53, 57–59, 61–62, Boyle & Bunie 2005, pp. 90–91, 122–123
  73. Boyle & Bunie 2005, p. 123.
  74. Madden, Will Anthony (1924-05-17). "Paul Robeson Rises To Supreme Heights In "The Emperor Jones". Pittsburgh Courier. p. 8.; cf. Corbin, John (1924-05-07). "The Play; Jazzed Methodism" New York Times p. 18.Duberman 1989, pp. 62–63, Boyle & Bunie 2005, pp. 124–125
  75. Young, Stark (1924-08-24). "The Prompt Book". New York Times. pp. X1.; Chicago Tribune entitled: "All God's Chillun" Plays Without a Single ProtestBoyle & Bunie 2005, pp. 126–127, Duberman 1989, pp. 64–65
  76. "And there is an 'Othello' when I am ready..One of the great measures of a people is its culture. Above all things, we boast that the only true artistic contributions of America are Negro in origin. We boast of the culture of ancient Africa..[I]n any discussion of art or culture,[one must include] music and the drama and its interpretation.. So today Roland Hayes is infinitely more of a racial asset than many who 'talk' at great length. Thousands of people hear him, see him, are moved by him, and are brought to a clearer understanding of human values. If I can so something of a like nature, I shall be happy.. My early experiences give me much hope. cf. Wilson 2000, p. 292
  77. Gilliam 1978, pp. 38–40; cf. Duberman 1989, pp. 68–71, 76, Sampson 2005, p. 9
  78. Boyle & Bunie 2005, pp. 142–143; cf. "I Owe My Success To My Wife," Says Paul Robeson, Star In O'Neill's Drama
  79. Robeson, Jr. 2001, p. 84.
  80. Robeson, Jr. 2001, p. 84; cf. Boyle & Bunie 2005, pp. 149, 152
  81. Nollen 2010, pp. 14, 18–19; cf. Duberman 1989, p. 67, Boyle & Bunie 2005, p. 160, Gilliam 1978, p. 43
  82. "Robeson to Sing for Nursery Fund: Benefit to Be Given in Greenwich Village Theatre March 15". New York Amsterdam News. 1925-03-11. p. 9.
  83. Coates, Ulysses (1925-04-18). "Radio". Chicago Defender. pp. A8.; cf. Robeson to Sing [Spirituals] Over Radio 1925-04-08
  84. Duberman 1989, p. 78; cf. Boyle & Bunie 2005, p. 139, Robeson, Jr. 2001, p. 85
  85. Duberman 1989, p. 79; cf. Gilliam 1978, pp. 41–42, Boyle & Bunie 2005, p. 140, Robeson, Jr. 2001, pp. 85–86
  86. "Clara Young Loses $75,000 in Jewels". New York Times. 1925-04-20. p. 21.; cf. Paul Robeson, Lawrence Brown Score Big New York Success With Negro Songs, MusicDuberman 1989, pp. 80–81
  87. Duberman 1989, pp. 82, 86; cf. Boyle & Bunie 2005, p. 149, Robeson, Jr. 2001, p. 93, Robeson on Victor 1925-09-16
  88. Gilliam 1978, pp. 45–47; Duberman 1989, pp. 83, 88–98, Boyle & Bunie 2005, pp. 161–167, Robeson, Jr. 2001, pp. 95–97
  89. Boyle & Bunie 2005, pp. 169–184; cf. Duberman 1989, pp. 98–106, Gilliam 1978, pp. 47–49
  90. Duberman 1989, p. 106; cf. Boyle & Bunie 2005, p. 184
  91. Robeson, Jr. 2001, p. 143; cf. Duberman 1989, p. 106, Boyle & Bunie 2005, p. 184
  92. Duberman 1989, p. 110; cf. Robeson, Jr. 2001, p. 147, Gilliam 1978, p. 49
  93. Boyle & Bunie 2005, p. 186; cf. Duberman 1989, p. 112, Robeson, Jr. 2001, p. 148
  94. "Drury Lane Theatre: 'Showboat'" (PDF). The Times. 1928-05-04. p. 14. Mr. Robeson's melancholy song about the 'old river' is one of the two chief hits of the evening.; Duberman 1989, pp. 113–115, Boyle & Bunie 2005, pp. 188–192, Robeson, Jr. 2001, pp. 149–156
  95. 1 2 Boyle & Bunie 2005, p. 192.
  96. Rogers, J A (1928-10-06). "'Show Boat' Pleasure-Disappointment": Rogers Gives New View Says Race Talent Is Submerged". Pittsburgh Courier. pp. A2. [Show Boat] is, so far as the Negro is concerned, a regrettable bit of American niggerism introduced into Europe.; Duberman 1989, p. 114, Gilliam 1978, p. 52
  97. "Mrs. Paul Robeson Majestic Passenger: Coming to Settle Business Affairs of Her Distinguished Husband". New York Amsterdam News. 1928-08-22. p. 8.; cf. Boyle & Bunie 2005, pp. 193–197; cf. Duberman 1989, p. 114, Gilliam 1978, p. 52
  98. "Sings For Prince Of Wales". Pittsburgh Courier. 1928-07-28. p. 12.; Duberman 1989, p. 115, Boyle & Bunie 2005, p. 196, Robeson, Jr. 2001, p. 153
  99. "English Parliament Honors Paul Robeson". Chicago Defender. 1928-12-01. pp. A1.; cf. Seton 1958, p. 30; cf. Robeson, Jr. 2001, p. 155, Boyle & Bunie 2005, p. ?
  100. Boyle & Bunie 2005, pp. 205–207; cf. Robeson, Jr. 2001, pp. 153–156, Gilliam 1978, p. 52, Duberman 1989, p. 118
  101. Duberman 1989, p. 126–127.
  102. Duberman 1989, p. 123-124.
  103. Duberman, Martin (1988-12-28). "Writing Robeson". The Nation. 267 (22): 33–38.; cf. Gilliam 1978, p. 57, Boyle & Bunie 2005, pp. 159–160, Robeson, Jr. 2001, pp. 100–101
  104. Robeson, Jr. 2001, p. 163–165.
  105. Robeson, Jr. 2001, pp. 172–173; cf. Boyle & Bunie 2005, pp. 230–234, Duberman 1989, pp. 139–140
  106. Duberman 1989, pp. 143–144; cf. Robeson, Jr. 2001, pp. 165–166
  107. Nollen 2010, p. 24; cf. Duberman 1989, pp. 129–130, Boyle & Bunie 2005, pp. 221–223
  108. Duberman 1989, pp. 133–138; cf. Nollen 2010, pp. 59–60
  109. Morrison 2011, p. 114; cf. Swindall 2010, p. 23, Robeson, Jr. 2001, p. 166
  110. Nollen 2010, p. 29; cf. Gilliam 1978, p. 60, Boyle & Bunie 2005, pp. 226–229
  111. Robeson, Jr. 2001, pp. 176–177; cf. Nollen 2010, p. 29
  112. Robeson, Jr. 2001, pp. 178–182; cf. Boyle & Bunie 2005, pp. 238–240, 257; cf. Gilliam 1978, pp. 62–64, Duberman 1989, pp. 140–144
  113. Oakley, Annie (1932-05-24). "The Theatre and Its People". Border Cities Star. p. 4.; cf. Boyle & Bunie 2005, pp. 253–254, Duberman 1989, p. 161, Robeson, Jr. 2001, pp. 192–193
  114. Duberman 1989, p. 161; cf. Boyle & Bunie 2005, pp. 258–259, Robeson, Jr. 2001, pp. 132, 194
  115. Sources are unclear on this point. Duberman 1989, p. 145; cf. Robeson, Jr. 2001, p. 182
  116. Duberman 1989, pp. 162–163; cf. Boyle & Bunie 2005, pp. 262–263, Robeson, Jr. 2001, pp. 194–196
  117. Robeson, Jr. 2001, pp. 195–200; cf. Boyle & Bunie 2005, pp. 267–268, Duberman 1989, p. 166
  118. Boyle & Bunie 2005, pp. 271–274; Duberman 1989, p. 167, Robeson, Jr. 2001, p. 204
  119. Boyle & Bunie 2005, p. 269–271.
  120. 1 2 3 Nollen 2010, pp. 41–42; cf. Robeson, Jr. 2001, p. 207; Duberman 1989, pp. 168–169
  121. Boyle & Bunie 2005, pp. 275–279; cf. Duberman 1989, pp. 167–168
  122. "Black Greatness". The Border Cities Star. 1933-09-08. p. 4.; cf. Boyle & Bunie 2005, pp. 284–285; Duberman 1989, pp. 169–170
  123. Boyle & Bunie 2005, p. 285–286.
  124. Boyle & Bunie 2005, p. 284–285.
  125. The rationale for Robeson's sudden interest in African history is viewed as inexplicable by one of his biographers and no biographers have stated an explanation for what Duberman terms a "sudden interest"; cf. Cameron 1990, p. 285
  126. 1 2 Nollen 2010, p. 52.
  127. Nollen 2010, p. 45.
  128. Duberman 1989, p. 182–185.
  129. Smith, Ronald A. (Summer 1979). "The Paul Robeson—Jackie Robinson Saga and a Political Collision". Journal of Sport History. 6 (2).; Duberman 1989, pp. 184–185, 628–629
  130. Robeson 1978, pp. 94–96; cf. (Smith, Vern (1935-01-15). "'I am at Home,' Says Robeson at Reception in Soviet Union", Daily Worker).
  131. Nollen 2010, p. 53–55.
  132. Nollen 2010, p. 53; cf. Duberman 1989, pp. 78–182
  133. Rotha, Paul (Spring 1935). "Sanders on the River". Cinema Quarterly. 3 (3): 175–176. You may, like me, feel embarrassed for Robeson. To portray on the public screen your own race as a smiling but cunning rogue, as clay in a woman's hands (especially when she is of the sophisticated American Brand), as toady to the white man is no small feat..It is important to remember that the multitudes of this country [Britain] who see Africa in this film, are being encouraged to believe this fudge is real. It is a disturbing thought. To exploit the past is the historian's loss. To exploit the present means in this case, the disgrace of a Continent.; Duberman 1989, pp. 180–182; contra: "Leicester Square Theatre: Sanders of the River", The Times: p. 12. 1935-04-03.
  134. Low 1985, p. 257; cf. Duberman 1989, pp. 181–182
  135. Low 1985, p. 170–171.
  136. Sources are unclear if Robeson unilaterally took the final product of the film as insulting or if his distaste was abetted by criticism of the film. Nollen 2010, p. 53; Duberman 1989, p. 182
  137. Lucy Fischer and Marcia Landy (eds), Stars: The Film Reader, Routledge, 2004, p. 209.
  138. Nancy Cunard, "Stevedore in London", The Crisis, August 1935, p. 238.
  139. Robeson, Jr. 2001, p. 280-281.
  140. James, Høgsbjerg & Dubois 2012.
  141. Paul Robeson at the Internet Movie Database
  142. Paul Robeson at the Internet Movie Database
  143. Paul Robeson at the Internet Movie Database
  144. "Africa Sings". Villon Films. Retrieved 2012-07-10.
  145. Paul Robeson at the Internet Movie Database
  146. "Most Popular Stars of 1937: Choice of British Public". The Mercury (Hobart, Tas.: 1860–1954). Hobart, Tas.: National Library of Australia. 12 February 1938. p. 5. Retrieved 25 April 2012.; cf. Richards 2001, p. 18
  147. Robeson 1958, p. 53; cf. Robeson 1981, p. 38, Duberman 1989, p. 220
  148. Robeson, Jr. 2001, p. 292; cf. Boyle & Bunie 2005, pp. 375–378
  149. Glazer defines it as a change from a ".lyric of defeat into a rallying cry." Glazer 2007, p. 167; cf. Robeson, Jr. 2001, p. 293, Boyle & Bunie 2005, p. 381, Lennox 2011, p. 124, Robeson 1981, p. 37, Hopkins 1998, p. 313 "At Manchester Free Trade Hall on September 28, 1938, Paul Robeson led in singing the famous verses of .. [the hymn] Jerusalem .. This suggests a very different spirit from that which the historian Gareth Stedman Jones found a generation earlier. He had written of workers who buried their millennial dreams and adopted a defensive strategy to fend off the aggressions of employers of the 1890s. .. For those who sang Jerusalem then, it was not as a battle-cry but as a hymn. For those caught up in the passion play of Spain, and still eager to recapture lost ideological positions it had become a battle cry."
  150. Duberman 1989, p. 222.
  151. "Paul Robeson at the Unity Theater", Daily Express June 20, 1938; cf. Duberman 1989, pp. 222–223
  152. "Paul Robeson". Coalfield Web Materials. University of Swansea. 2002.
  153. Boyle & Bunie 2005, p. 396.
  154. "Spanish Relief Efforts: Albert Hall Meeting £1,000 Collected for Children". The Manchester Guardian. 1937-06-25. p. 6.; cf. Brown 1997, p. 77, Robeson, Jr. 2001, p. 372
  155. Beevor 2006, p. 356.
  156. Weyden, p. 433–434.
  157. "Paul Robeson". Rutas Culturales. Retrieved 2016-10-29.
  158. Beevor 2006, p. 356; cf. Eby 2007, pp. 279–280, Landis 1967, pp. 245–246
  159. Wyden 1983, p. 433–434.
  160. "India's Struggle for Freedom: Mr. Nehru on Imperialism and Fascism". The Guardian. 1938-06-28.; Duberman 1989, p. 225
  161. Duberman 1989, p. 223 "He explained to the press that 'something inside has turned..',; Nollen 2010, p. 122
  162. Duberman 1989, p. 223.
  163. "Robeson Joins London Workers' Theatre". Chicago Defender. 1938-07-02. p. 24.; cf. Nollen 2010, p. 122
  164. Boyle & Bunie 2005, p. 320; cf. Von Eschen 2014
  165. Bourne, Stephen; Dr. Hywel Francis. "The Proud Valley". Edinburgh Film Guide. Archived from the original (PDF) on 2012-07-04.
  166. Price & 8–9; cf. Collier's ??
  167. Duberman 1989, p. 236–238.
  168. FBI record, "Paul Robeson". FBI 100-25857, New York, December 8, 1942.
  169. Duberman 1989, p. 259–261.
  170. Lustiger 2003, p. 125–127.
  171. Paul Robeson at the Internet Broadway Database
  172. Dorinson & Pencak 2004, p. 1.
  173. Duberman 1989, p. 295.
  174. Duberman 1989, p. 296-297.
  175. 1 2 3 Duberman 1989, p. 307.
  176. "Group Confers with Truman on Lynching". Pittsburgh Post-Gazette. 1946-09-24. p. 2.
  177. Nollen 2010, p. 157–156.
  178. Lewis 2000, p. 522.
  179. Duberman 1989, p. 249-250.
  180. Duberman 1989, p. 241.
  181. Duberman 1989, p. 296.
  182. Cornell, Douglas B. (1947-12-05). "Attorney General's List of 'Subversive Groups' is Derided by Solon". The Modesto Bee. p. 1.; cf. Goldstein 2008, pp. 62, 66, 88
  183. Bay Area Paul Robeson Centennial Committee, Paul Robeson Chronology (Part 5).
  184. Duberman 1989, p. 324.
  185. Duberman 1989, p. 326-327.
  186. Robeson, Jr. 2001, p. 137.
  187. Robeson 1978, p. 197–198.
  188. Robeson, Jr. 2001, pp. 142–143; Duberman 1989, pp. 342–345, 687
  189. Robeson, Jr. 2001, pp. 142–143; cf. Robeson 1978, pp. 197–198, Seton 1958, p. 179, Interview with Paul Robeson, Jnr.
  190. "Studs Terkel, Paul Robeson – Speak of Me As I Am, BBC, 1998"
  191. Duberman 1989, p. 352–353.
  192. Lustiger 2003, p. 210–211.
  193. McConnell 2010, p. 348.
  194. 1 2 Seton 1958, p. 210-211.
  195. Duberman 1989, p. 353–354.
  196. Robeson Jr. 2010, pp. 142–143
  197. 1 2 Duberman 1989, pp. 361–362; cf. Robinson 1978, pp. 94–98
  198. 1 2 Duberman 1989, pp. 358–360; cf. Robinson 1978, pp. 94–98
  199. Duberman 1989, p. 364; cf. Robeson 1981, p. 181
  200. Duberman 1989, pp. 364–370; cf. Robeson 1981, p. 181
  201. LA Times: Jan 1, 1950, p. ?
  202. Walsh 1949, p. 689.
  203. Brown 1997, p. 162; cf. Robeson 1971, p. 5 Walsh only listed a ten man All-American team for the 1917 team and he lists no team due to World War I. Walsh 1949, pp. 16–18, 32. The information in the book was compiled by information from the colleges, ".. but many deserving names are missing entirely from the pages of [the] book because .. their alma mater was unable to provide them. – Glenn S. Warner" Walsh 1949, p. 6. The Rutgers University list was presented to Walsh by Gordon A. McCoy, Director of Publicity for Rutgers, and although this list says that Rutgers had two All-Americans at the time of the publishing of the book, the book only lists the other All-American and does not list Robeson as being an All-American. Walsh 1949, p. 684
  204. "Mrs. Roosevelt sees a 'Misunderstanding'". New York Times. 1950-03-15.
  205. Wright 1975, p. 97.
  206. Von Eschen 2014, p. 181-185.
  207. Duberman 1989, p. 388–389.
  208. Robert Alan, "Paul Robeson - the Lost Shepherd". The Crisis, November 1951 pp. 569–573
  209. Duberman 1989, p. 396.
  210. Foner 2001, p. 112–115.
  211. Von Eschen 2014, p. 127.
  212. Duberman 1989, p. 396; cf. Foner 2001, pp. 112–115
  213. Duberman 1989, p. 397–398.
  214. "Paul Robeson is Awarded Stalin Prize". The News and Courier. 1952-12-22. p. 6.
  215. "Post Robeson Gets Stalin Peace Prize". The Victoria Advocate. 1953-09-25. p. 5.
  216. Robeson 1978, p. 347–349.
  217. Duberman 1989, p. 354.
  218. Robeson 1978, p. 236–241.
  219. Duberman 1989, p. 400.
  220. Duberman 1989, p. 411.
  221. "Testimony of Paul Robeson before the House Committee on Un-American Activities, June 12, 1956". History Matters. Retrieved 30 January 2015.
  222. Presenters: Aleks Krotoski (5 January 2016). "Hidden Histories of the Information Age: TAT-1". Hidden Histories of the Information Age. 9:50 minutes in. BBC Radio 4.
  223. Presenters: Aleks Krotoski (5 January 2016). "Hidden Histories of the Information Age: TAT-1". Hidden Histories of the Information Age. 0:55 minutes in. BBC Radio 4.
  224. Howard, Tony (2009-01-29). "Showcase: Let Robeson Sing". University of Warwick.
  225. Matthew Weaver and George Arnett (21 November 2014). "Will Theresa May toe party line on Desert Island Disks?". The Guardian. Retrieved 28 January 2015.
  226. Duberman 1989, p. 437.
  227. Barry Finger, "Paul Robeson: A Flawed Martyr", in: New Politics Vol. 7 No. 1 (Summer 1998)
  228. Robeson 1978, p. 3–8.
  229. Duberman 1989, p. 458.
  230. Duberman 1989, p. 463.
  231. "British Give Singer Paul Robeson Hero's Welcome". The Modesto Bee. 1958-07-11.
  232. Duberman 1989, p. 469.
  233. Duberman 1989, p. 471.
  234. Robeson 1981, p. 218.
  235. Duberman 1989, p. 472.
  236. Duberman 1989, p. 487–491.
  237. Curthoys 2010, p. 171.
  238. Steinke, Nicole. "Paul Robeson: the singer who fought for justice and paid with his life".
  239. Duberman 1989, p. 489.
  240. Curthoys 2010, p. 168; Duberman 1989, p. 489
  241. Robeson 1978, pp. 470–471.
  242. Curthoys 2010, pp. 164, 173–175; cf. Duberman 1989, p. 490
  243. Curthoys 2010, pp. 175–177; cf. Duberman 1989
  244. Robeson, Jr. 2001, p. 309.
  245. 1 2 Duberman 1989, p. 498-499.
  246. Nollen 2010, p. 180.
  247. 1 2 3 Radio broadcast presented by Amy Goodman, Did the U.S. Government Drug Paul Robeson? (Part 1). Democracy Now (July 1, 1999) Did the U.S. Government Drug Paul Robeson? (Part 2). Democracy Now (July 6, 1999)
  248. Duberman 1989, p. 563–564.
  249. Duberman 1989, p. 438–442.
  250. Robeson, Paul Jr. (1999-12-20). "Time Out: The Paul Robeson Files". The Nation. 269 (21): 9.
  251. Duberman 1989, p. 498–499.
  252. Duberman 1989, p. 735–736.
  253. Nollen 2010, p. 180–181.
  254. Travis, Alan (2003-03-06). "Paul Robeson was tracked by MI5". The Guardian. Guardian News and Media Limited.; cf. Western Mail,
  255. Duberman 1989, p. 509.
  256. Nollen 2010, p. 182.
  257. 1 2 3 4 Lamparski, Richard (1968). Whatever Became of ...?, Vol II. Ace Books. p. 9.
  258. Duberman 1989, p. 516–518.
  259. 1 2 Duberman 1989, p. 537.
  260. Robeson, Jr. 2001, p. 346.
  261. Farmer 1985, p. 297–298.
  262. Duberman 1989, p. 162–163.
  263. Robeson 1981, p. 235–237.
  264. Bell 1986, p. ?.
  265. Duberman 1989, p. 516.
  266. Nollen 2010, p. 186.
  267. "Died". Time. February 2, 1976.; cf. Duberman 1989, p. 548
  268. Robeson 1981, p. 236–237.
  269. 1 2 Duberman 1989, p. 549.
  270. Hoggard, Bishop J. Clinton. "Eulogy". The Paul Robeson Foundation.
  271. 1 2 Nollen 2010, p. 187.
  272. Carroll 1998, p. ?.
  273. Finkelman 2007, p. 363; cf. Dorinson 2002, p. 74
  274. Miller, Patrick B. (1 January 2005). "Muscular assimilationism: sport and the paradoxes of racial reform". In Ross, Charles K. Race and Sport: The Struggle for Equality on and Off the Field. Univ. Press of Mississippi. pp. 149–150. ISBN 978-1-57806-897-5.
  275. Duberman 1989, p. 81.
  276. Duberman 1989, p. 90; cf. Bogle 2016, p. 100, Nollen 2010, p. ?
  277. Von Eschen 2014, p. 185.
  278. "List of National Historic Landmarks by State" (PDF). National Historic Landmarks Program. 2012-01-03. p. 71.
  279. "Paul Robeson Galleries".; cf. Paul Robeson Library, The Paul Robeson Cultural Center,
  280. O'Malley, Padraig. "1978". Nelson Mandela Centre of Memory.
  281. "1980". Academy of Motion Picture Arts and Sciences.
  282. Armour, Nancy (1995-08-26). "Brown, Robeson inducted into college football hall". The Day. Reid MacCluggage. pp. C6.
  283. "Paul Robeson Centennial Celebration; Robeson Peace Arch Concert Anniversary".
  284. "From the Valley of Obscurity, Robeson's Baritone Rings Out; 22 Years After His Death, Actor-Activist Gets a Grammy". The New York Times. February 25, 1998.
  285. "The Paul Robeson centennial". Ebony. 53 (7): 110–114. 1998-05-01.; cf. Wade-Lewis 2007, p. 108
  286. "Theater Hall of Fame members".
  287. The Broadway League. "Home - IBDB: The official source for Broadway Information".
  288. "Paul Robeson as Othello". 2010-07-29.
  289. Morrison 2011, pp. 114-140.
  290. "Spingarn Medal Winners: 1915 to Today".
  291. Curthoys 2010, pp. 178–180; cf. Duberman 1989, p. 491
  292. "Paul Robeson zu Gast Unter den Linden – Humboldt-Universität zu Berlin" (in German).
  293. Duberman 1989, p. 557.
  294. "Paul Robeson Archive". 515 Malcolm X Boulevard New York, NY: New York Public Libraries.
  295. "Paul Robeson's granddaughter at Ebbw Vale eisteddfod - BBC News". Retrieved 2016-08-12.
  296. Von Eschen 2014, p. 1–2.
  297. Balaji 2009, p. 430–432.
  298. Hiebert, Hagen (2010). Reflections on a Life: Paul Robeson Remembered. Eastside Inc, Charbo.
  299. Gomez, Lynn (2012-01-16). "National Register of Historical Places Inventory -- Nomination Form: Paul Robeson Residence". United States Department of the Interior: National Park Service. Archived from the original (PDF) on 2012-01-16. Retrieved 2012-01-16.
  300. NPS Civil Rights
  301. Paul Robeson Residence Accompanying 3 photos, exterior, from 1976.
  302. New York City Landmarks Preservation Commission; Dolkart, Andrew S. (text); Postal, Matthew A. (text) (2009), Postal, Matthew A., ed., Guide to New York City Landmarks (4th ed.), New York: John Wiley & Sons, ISBN 978-0-470-28963-1, p.211
  303. "Tanker Named 'Paul Robeson'". The Hour. UPI. June 1, 1978. Retrieved June 27, 2015.
  304. "English Heritage Unveil A Blue Plaque To Honour Paul Robeson". Retrieved 7 May 2013.
  305. "Stamp Series". United States Postal Service. Retrieved Sep 2, 2013.
  306. "Paul Robeson: Portraits of the Artist". The Criterion Collection. Retrieved Dec 8, 2013.
  307. "Paul Robeson Library". Rutgers University Camden. Retrieved Jan 22, 2015.
  308. "Paul Robeson Campus Center". Rutgers University Newark. Retrieved Jan 22, 2015.
  309. Woods, Paula (January 27, 2012). "Book review: 'Agent 6' by Tom Rob Smith". Los Angeles Times.
  310. "Paul Robeson Lyrics". Metro Lyrics. Retrieved 17 April 2015.
  311. Alex Needham. "Steve McQueen to make film about Paul Robeson". the Guardian.
  312. Richards 2005, p. 231.

Primary materials


Secondary materials

  • Harris, Francis C. (1998). Paul Robeson: An Athlete's Legacy. 
  • Naison, Mark (1998). Paul Robeson and the American Labor Movement. 

Film biographies and documentaries about Robeson

Further reading

External links

Biographical information

Wikiquote has quotations related to: Paul Robeson
Wikimedia Commons has media related to Paul Robeson.

Institutions associated

Paul Robeson archives

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