Art As Activism: Lorraine Hansberry

[ Music ] >> All right, all right, all right, all right [applause], all right. Thank you guys so very much. Jay, happy to be here [inaudible]. [ Applause and Cheering ] >> Ladies and gentlemen, now, please welcome Dr. Christopher David West, [inaudible] professor, and Coordinator of the Diversity Initiative Project. >> In the American Civil War, it comes to a conclusion in April of 1865, there is an LB group, in which the possibility of the passage of the 13th, 14th, and 15th Amendments, the Uni

ted States is actually going to offer it to its former slave [inaudible] the opportunity to be [inaudible]. [ Laughter ] >> What they discovered in the post reconstruction America was what? There were 4,000 documented immigrants, disenfranchised, removed, and yet they showed the agency by leaving, the largest eternal migration to the history of the developed world is African Americans making a choice to leave. And finding what they rightly call the warmth of other suns. There wasn't warmth in Ch

icago. After the ending of World War One, the 1919 Chicago race riot was an example of black soldiers coming back and being beaten in the uniforms that they wore overseas. And so the story, in many ways, of the Hansberry Family is a story of how do you find a way? And it's not limited to Chicago. As blacks are going to leave the American south, south first from rural to urban and then to the urban north, what they run into in Chicago, New York, Philadelphia, and Boston, later Los Angeles, San Di

ego, and San Francisco, is cities that attempt to suggest that there is an opportunity, but in practice offer nothing close to that. And yet what artists do, and what Lorraine Hansberry does so brilliantly is she gives voice to the black experience. And voice is not that which is holding on, but is a voice of excellence, that is a voice of greatness, that is a voice that offers black folks an opportunity to say this is your story and you have the right to tell it. The lecture series, which is no

w in its sixth year is not just simply about us providing an opportunity for greatness, it's also about partnering with other institutions, and A Noise Within, which is our partner institution on this one. It has been absolutely extraordinary. They've mounted a performance of A Raisin in the Sun, that we partnered with them, with both Mamie Hansberry as well as Charles Reeves, and I want to bring Alicia Green up to talk a little bit about A Noise Within. Alicia Green. [ Applause ] >> Sorry. >> Y

ou're fine. >> Good evening everyone, my name is Alicia Green. I'm the Director of Education at A Noise Within Theater. At A Noise Within, we serve over 16,000 students every year, and I'm so honored that this year, of those 16,000, 2,000 will have experienced and have come to see A Raisin in the Sun. And of those 2,000, 200 are actually PCC students who are coming next Thursday. I'm very honored to have been brought into this project, working with Dr. West, Charles Reece, and of course, Miss Ma

mie Hansberry. And it's like Charles said, bringing students to theater is incredibly important. It's mission-driven for us. Bringing students into the theater, and this particular piece, is art as activism. And it is so important for our students to know this play, to understand this play, to hear about dreams deferred, and what that means. To recognize what is still happening in our society today and hopefully make a chance. So I'm really, really honored to be here, and thank you so much. I re

ally look forward to future partnerships. [ Applause ] >> The sequence for the rest of the evening will be we have an opportunity to have... One of the reasons I became a historian is because we do not tell enough good stories around black folk. One of the reasons I became a historian is because we do not tell enough stories around black folk. And to have somebody from the Hansberry family here, to represent their family, is just simply humbling and extraordinary. So the emotion comes from that

if we don't tell the story, if we don't bring black folks in, if we don't suggest that there is going to be greatness, those stories will be erased. It is my honor to introduce Mamie Hansberry to the stage. [ Applause and Cheering ] >> Well here we are again [laughter]. I am so excited because this is actually my second time having conversations, so this is part two. I'm going to call it our living room time together. So I'm so happy to see you again. So, I want to do this because a lot of times

, I need these lines. We don't always know about how family works. And the Hansberry family works so wonderfully, so I want to tune in a little bit about this beautiful soul sitting next to me, would that be all right? >> Yes. >> I am just-- feel so amazed by just her being. So Mamie Hansberry. Mamie Hansberry. Visual artist. Civil Rights activist. And of course, she is the older sister of Lorraine Hansberry, and she's 94 years young! [ Applause and Cheering ] >> She was born to [inaudible] Augu

stus Hansberry, and Nanny Hansberry, and as a child of the Hansberry family, Mamie faced the bigotry and harassment of angry whites, who wanted to force her family out of their home. And as the office manager of her family business, Hansberry Enterprises-- everybody go Hansberry Enterprises? >> Hansberry Enterprises. >> She persevered by the family used their business to fight for the rights and equality of African Americans. Miss Hansberry attended Howard University [cheering], majoring in Art.

Howard fans? Mamie Hansberry married Vincent Tubbs, who was the President of the Publicist Guild of America, being the first African American to head a Hollywood Film Union, and the first African American Publicist at Warner Brothers Studios. Mamie Hansberry is an accomplished and talented artist, who has won many awards for her work, including the Windsor and Newton Award, for her watercolor painting, Underground Railroad. The Parker Ray Street Banner Award for two works, and the Pacific Palis

ades Village Bookstore Award, you've been busy [laughter], for Lady of The City. Mamie Hansberry, as a member of the Hansberry family, represents the legacy pioneering trailblazers who fought the system to achieve civil and equal rights for African Americans, personally sacrificing their own business to procure these rights for all. Mamie Hansberry is the mother of Mantille Hansberry Charbonneau, and the grandmother of actress Taye Hansberry. And please one more time, Mamie Hansberry. [ Applause

and Cheers ] >> There's some bio, for you to read all the way through and that's one of them. So as James Bowman once said, you don't tell life, life tells you. Can you just start, and let us know, how did the Hansberry come into all this activism in Chicago? What was that like? >> Well, first, first they started in Mississippi. Daddy was from Mississippi. And mother was from Tennessee. So they had a pretty good idea of what was going on in America. And they decided to make changes. And we were

taught at a very young age that America was beautiful, and wonderful, and all of those things. But there were some people who were racist. And they thought African Americans should be enslaved, and should just work for 300 years. Well, that has changed. African Americans knew it was wrong, and many whites knew it was wrong. The abolitionists fought hard, and made escape possible in some areas. So, I personally am very grateful for the abolitionists, and for the will and power of the slaves who

ran away. And caused King Cotton to fail. So we were aware that we were fortunate, living in Chicago, daddy would often say you must go and open a restaurant, because if you were in the south, they would harm you if you attempted that. So that was very encouraging to us, and they said you've got to change things. If it's wrong, if a law is wrong, then you fight against it, and change it, and things will be better. And they did get better. >> Wow, and you say it with such grace and ease, that's w

hat I love about you. You've been through a lot in 94 years. Tell us a little bit. We know Lorraine Hansberry for A Raisin in the Sun, and we'll talk a little bit about that. But tell us something about Lorraine as a child. You were the big sister. How was that? >> Well, she was a wonderful baby [laughs], I had two brothers, wonderful brothers, Carl and Perry. But I truly wanted a little sister, and when mother announced we were going to have a fresh baby [chuckles], I said, "can I name her afte

r two friends? The two friends I no longer remember, it was so long ago, but one was named Lorraine, and the other Vivian. So I asked mother if we could name her Lorraine Vivian, and mother said she thought that would be a very nice name. >> So you're a name maker, are you? So let's talk a little about A Raisin in the Sun, because how many people have seen A Raisin in the Sun? How many people have read A Raisin in the Sun? How many people have never seen A Raisin in the Sun? You're going next we

ek? Okay. And who is going next week? Okay. Guess who is going next week? So we're not-- so there won't be any spoilers for you. So we know that we talk about your dad in Hansberry Enterprises, so how much of A Raisin in the Sun is-- how much of it is so much real life, I should say? >> Well, Lorraine was a very good listener, and she listened to all the things we were doing, and a little bit of Raisin is part of my second brother, part of my first brother, and a part of myself [laughs]-- >> Now

which part is you? >> Well, in her second play, the sign in Sydney Berstein's window, she put a part in there, I was kind of her babysitter most of the time, and I would wash her up and sometimes, I paid particular attention to scrubbing her hands, in the bathroom, we'd flip the hand over, and pretend like I was washing fish and scrubbing the fish, and she did put that in the sign in Sydney Bernstein's window, and of course I cried, when I saw it. >> And Noyces Finn [phonetic spelling], by the

way, did do a reading of that play actually on March the 12th. We've been doing a whole series of things, and it has been exciting. I want to jump back to Raisin, a little bit. So who is Lorraine in Raisin? >> Well, Bernitha, probably, because Lorraine was very studious. She read everything. We had an extensive library, and she read everything in there. And daddy always challenged us if we were making a statement, we'd have to prove it. So she was on her own many times, in the library, after she

finished our library, she finished the one in the city. So-- >> The whole library? >> [Laughs] She didn't do much else [laughs]. >> Wow, wow! >> Once, we were going to an engagement, the whole family, and mother gave her money to buy a new outfit, and we were waiting anxiously to see what she had selected. And she came back home, and we said, where are your-- [laughs], where are your dresses? And she said, she acted like she didn't know what we were talking about, and I found the crumpled bills

in her pocket, so I had to go and buy an outfit for her. She'd spent all the time in the library. >> Wow. All right, future writers, library, library. We have one here on campus. We've got them all over the city. Go read, people. So listen [laughter], I wanted to talk a little bit about A Raisin in the Sun. Now, Raisin, is celebrating 59 years this year. Next year will be the 60th Anniversary, and I think you'll be on a roll even more next year. >> Yes. >> So tell us a little bit about Lorraine

's thoughts on Sidney Poitier, in that original version, back in 1959? >> Well, Sidney, of course, was wonderful and a genius. He understood Raisin, as did most people connect it. But Sidney was West Indian, and Chicago black men at that time walked a certain way, with a kind of limp of flair and Sidney, even though he had great strides, he was still West Indian, and then Lorraine had to coach him on the Chicago walk [laughter], and he accomplished it of course. And I can't say enough about Sidn

ey, because I think Raisin is so important, because he was the greatest actor you ever want to come across, and gave so much. As did all the other members of the cast. Just brilliant young people who loved the idea, who understood it, and brought a great message, some have passed on, but the story remains. And I went to a production of children at a grammar school. The Menlo School, and they even had a business manager, his [laughs], the young fellow's mother had gone and got him a business suit

, he was only 12 years old. And he was doing his job, and of course, he eventually wanted to know about Lorraine. And I assured him that she was in heaven, and just to do a good job. And make Raisin a success at his school. >> Aww. That's wonderful. >> Thank you. >> So listen, I want to know about Lorraine as an activist. And I know, I dealt with this meaning, but I-- we've had this conversation before, but I want to kind of sort of expound a little bit. So tell us a little bit about Lorraine Ha

nsberry, and that secret meeting of 63, between Lorraine Hansberry, Robert Kennedy and I want you to share another story about Robert, too, Robert Kennedy-- >> Yes. >> Lena Horne, Harry Belafonte. >> Yes. >> Of 63, can you just give us a little taste of what she told you about that meeting? >> They were wonderful Americans, demanding from the Kennedys, who were great Americans, and I was not at the meeting, but I understand Lorraine was so fired up in a ladylike way [laughs], but she walked out.

My husband and I were very active with the Democratic Party, and my husband was treasurer. My husband was a banker, and he raised lots of money for the Kennedys, and we went-- he traveled, but the occasion I'm thinking of was Bobby went to San Francisco, and he made a wonderful speech, and I was so impressed with it, so I'm sure he was affected by the meeting he'd had with the black community. And I told my husband, I'm going to go and shake Senator Kennedy's hand, because I feel he just signed

his death warrant. It was so terrific. And of course I was standing there in L.A., when he was shot. And I still am very shook up about that atrocity. He was a very dedicated man. And he and his brother gave their lives to make America better. And I'm sure America is a lot better because they once walked this earth. >> Wow. So that everyone knows where that school is, we're at the 50th anniversary of Kennedy's-- Bobby Kennedy's death, coming in June, and we're also at the 50th anniversary of Ma

rtin Luther King's death. >> Absolutely. >> So all of that happened in 1968. That place, if you all want to check it out now, it used to be the Ambassador Hotel, and it's at Western-- sorry excuse me, it's at Wilshire Boulevard, just below Mariposa. But now it's the John Kennedy Learning Center. >> Yes. I have been there. >> Yes, it's a learning center now, so if you want to check that out, go see that. I do believe that the thing that they did preserve, they preserved the kitchen area, is what

they preserved, so you can go check that out. And they also have a kiosk, on-- going up on Wilshire Boulevard, that tells you what the block looked like. So it was the Ambassador Hotel, and you were there. >> Yes, my husband had-- >> Second husband? >> Had high security and I did too. >> Okay. >> But I guess I must have had a premonition or something. I didn't feel very well. So I said I'm going to sit in the lobby while you go up to the Senator's suite, and pull myself together, and so when he

came down in about a half hour, he said the Senator was coming down, so we have to go back to the ballroom. And we went through the kitchen. This long walk through the kitchen. Not one security. Not one policeman. Not a cook. No food. Nothing was in the kitchen. And I was confused by that. I said, where is the security? So we got into the ballroom, through that back way, and of course, Senator Kennedy was finishing his speech. And off to Chicago. And then we heard the fireworks. And it was the m

ost devastating...experience. And of course the police were there and they had the young man that had fired those shots. And...America was just devastated by such a terrible tragedy. I hope that's the end of that. And they need to get rid of guns [laughs]. >> She has said it. [ Applause ] >> You know, I could go on for a long time. But I'm glad you're my neighbor, because we can go have a coffee or tea, and do what we like to do. But what I want to do right now, because you're going to see the d

ocumentary, so I don't want to go too far into a lot of things. Some people want to see the play. But I want to bring some students up, some PCC students. Yes, two microphones, there's microphones on each side. I need some students to come up, because we want to start with students with questions. So if you have any questions, any thoughts, right now is the time, we're doing very good, because we want to get the film started in about the next 10 minutes. So let's just open up the floor to questi

ons. I'm starting with students, but there's no students, I'll just come to the mic here on the side, they're open, and you can do that. And while y'all are thinking about that, I have another question. So work your way on down. Work your way on down. Work your way on down. So, listen. I know that we have known that you're [inaudible], but just...when the Raisin in the Sun happened, we know that it's about more than one neighborhood to another, tell us about the 1938 case that your father took t

o the Supreme Court. >> Well, daddy bought a house at 6140 Rhodes, in Chicago. And we moved in and of course I went to register at the Sexton School, and that let the Principal know that a black family had moved in. He came over, personally to make sure that address was correct. And then, after that, a crowd started collecting in front of our property. And all of a sudden, a huge brick mortar came through the window, and lodged in the wall, over our loveseat, and Lorraine happened to be sitting

in that seat, but it was above her head. But it stayed in the wall. So the effect of that was somebody really were mad because we're here. But we were just as determined to be there, because my father had earned enough money to buy that building. And when the lower courts told us we had to move out...he said, "Well, we're only taking a suitcase each. We're not moving. We're just going to be away for a little while, and we will be back." And great lawyers from all over the country called dad. And

joined with our lawyers, C. Francis Stratford, who was a scholar, from Overland. Did all the ground work. And it was just a wonderful time in a way. But daddy found us another place to live during that period. And I never did go back to that building. But my brothers and their wives, because time had passed, and they were married, so the rest of the family lived there. Lorraine, mother and myself never went back. But that is now a landmark. I was there for that ceremony a few years ago. And it

was worth every bit of it. And that makes it possible for all people to live where they want to live. So that was the great lesson in determination. It cost a lot of money. And it made Mayor Dailey very angry with the Hansberrys [laughter], and it cost quite a bit. But I told one newsman civil rights is expensive. >> Wow. >> Hmmm! >> And I'm willing to pay that price and start over, which we had to do, financially. So I married a banker. [ Laughter and Applause ] >> And that was Bill Mitchell, c

orrect? >> That was Bill. >> That's the second one. >> I've had three husbands. >> Okay, wait a minute. I only know two. >> Well I had promised a young man I would marry him when he came back from the second world war, but...he was-- we've had to go to Kansas, has anybody ever been to Topeka, Kansas [laughter]? You cannot eat anywhere there, not even a drive-in. I hope it's better. I'm sure it's better now [laughter]. But mother, I called my mother, I said, "I think I've made a mistake [laughs],

I need to go back to school." She said, "Well pack your things and get them to the station." I said "Mother, my things are at the station!" [Laughter] So... [laughter continues]. >> All right. You know what? You need to go on the road with me [laughter], I just got to say, give a round of applause for that. That was-- [ Applause ] >> This is why oral history is so important, and I am so glad that today we have been able to document this, because we will get to share this with other people, and

you get to share this when you go home this evening, on all your social medias. Let's go into questions. Give your name first, and your question. >> Sure. My name is Terry Franklin, and I've always felt such a connection to your story, to your family's story, as a kid who grew up on the south side of Chicago, going to see the musical, Raisin, and then later on seeing the play Raisin in the Sun, then going to law school, and Professor Derek Bell teaching us about Hansberry versus Lee, and that it

wasn't just a case about standing, but a case about a family and their fight, their struggle for civil rights. And seeing the play again, and then seeing Cliburn Park, and knowing that this all also came from Langston Hughes, and just the reverberations of the inspiration, and the desire to use art, and to use it for good, and for activism, it's just so empowering. And I'm honored to be here in your presence, and I just want to thank you for giving me the opportunity to say that to you, and to

recognize this sense of bond that I have personally with you and your family. I love you, thank you very much. >> Thank you. >> Awww. >> Thank you. >> Thank you [applause]. That's beautiful. Yes, sir. Your name first please. >> Hi, my name is Daniel Lawlick [assumed spelling], I'm a PCC student. I grew up in a pretty secure home. I grew up lower middle class, but I was able to dream, as a kid. I had dreams of being a basketball coach, or getting into music or something, but that's secure, like I

could-- I knew I could dream. I could have those dreams. So my question for you is like, growing up back then, what were your dreams as a kid, like what did you want? What were your childhood dreams? What did you kind of innocently want? >> Well, of course we all had dreams. I think my favorite people are my people [applause], I truly love my people. I love this country. But I want it to be improved, so everyone is welcome. I don't believe in walls. I think [applause]... I would like everyone t

o be able to walk around the world, and feel free everywhere, and stop killing each other. There's such beauty in this world. And if we work hard, make it your business, to do some good, and to change things that are wrong in a ladylike way [laughter and applause]. But be very serious about changing things. And you may not do all the things that I, perhaps, have done, but in your own community you can teach a child to read, it's a terrible thing not to know math and spelling, and geography, and

learn about Africa, that's where we came from, and we're wonderful people [laughter], but it's difficult and you don't need to think that I wasn't afraid sitting in a restaurant after someone has told me you're not good enough to eat here. Or in a theater. They want you to sit upstairs in the balcony when I went to Washington, D.C., to school, and to have to look at a sign that says for colored, and White, is the most devastating thing. So, most of the time, I took those signs down [laughter and

applause] and when my brothers went south, they took them down off the train, and in Washington, one young lady said to me what right do you have to take down my sign? I said what right did you have to put it up there [applause]? I also want to take this opportunity, Charles, to thank you, and everyone connected with this few weeks you are a jewel. [ Applause ] >> And I'm sure Lorraine is very proud, because she died so young, and that infuriated me. And to have her work come alive, in this way

, and be so important to some young people, and to activate some young people. It's a real blessing. And Hansberrys everywhere are very grateful. Thank you. >> Thank you. >> Yes. >> [Applause] All right, we're going to take-- thank you, I hope that answered your question. We're going to take these three questions, and that's going to help us wrap this up. You're first. >> Such an honor to be in your presence. You are the personification of African American Don't Crack [laughter], that's the new

version [laughter], right? Right. Because she's, she's international. That's unbelievable, wow. I just need a moment. Listen, first and foremost, as a young man in Richmond, Virginia, wanting to audition for New York University School of the Arts, that's when I was introduced to Walter Lee. Walter Lee got me into NYU to School of the Arts. >> Thank you [applause]. >> And, and oh good lord, your sister, just an amazing, blazing light. You are a blazing light right here, so I can only imagine. I w

anted to ask you, and I hope this doesn't get ahead of the documentary but did you guys have, end up conversations about what it was like to be an African American woman at that time, to be a playwright, and to be pursuing her dreams in that area, did you guys talk about that? >> So he wants to know did you, at that time, you and your sister, talk about what it's like to be African American women, to be playwright, that type of thing, what was it like? Did you have that conversation about being

African American women during that time? >> Oh yes. We were schooled-- mother woke up every morning and told me, you're so beautiful, and brilliant. She told us all that. For the slightest little accomplishment, because she knew we were going out into a world that didn't think much of your brain, your appearance, your hair, and your demeanor. So she filled us full of compliments, all day, every day, and any homework, or essays, we wrote, we're given the highest praise. Oh, this is son wonderful!

You're so bright and smart! And I recommend that for everybody because I was 40 years old before I realized I was neither beautiful nor brilliant [laughter and applause]. >> Wow! I could bottle that [laughter]. All right. I want, because I won't let you off the hook. Tell us who you are? >> Oh, thank you. That's-- my name is Chad Coleman. And I'm a professional actor. >> And? >> I...stuff like the Wire, the Walking Dead, things of that nature. >> Thank you, thank you much. I just want-- >> It a

in't about me. >> Because there might be some young students here, I just want them to let-- I know who you are. I want to let the world know who you are. >> But I just have one more question, so what's your diet like, I mean, I am looking at your skin-- >> He want, he now, he's getting really personal, he wants to know what is your diet. >> I'm looking at your skin and your hair at 94 years old. >> Now watch this, listen to this, this will get you. Tell him. >> Well in kindergarten or first gra

de, ladies told us what to eat, and that included eggs, slices of bread, not four [laughter], and the basic structure of how to eat. And I have remembered that, and some fruit, and greenery. Greenery is so important. And there's something called blue-green algae, my daughter put me on that about 10 years ago, and I think it has had a great effect on keeping you alert, and up with it, a bit. Along with good music. >> Yes, on...I hope that gets you, on Fridays you can catch us at Lakama [assumed s

pelling] between April and October, like clockwork. >> That's right. For great music. >> Yes, we dance together on Fridays. Come one sir, we've got two more questions. >> Okay My name is Robert. I wanted to know, as I understood it, when the play was written, and kind of locked down and in rehearsal, the play was focused on the mother. And as it developed, by the time it was on stage, and in the movie, certainly, the focus shifted to the young man. And I wanted to know how Lorraine dealt with th

at. >> Mm-hmm. >> Okay. So he was saying that when the play was done, initially it was just focused on the mother, and then as it moved, it started more focusing on the Walter Lee, and-- >> Yeah, yes. >> And he wants to know, how did Lorraine deal with that, going from mother focus, to brother focus? >> I don't think it affected her. The play has a life of its own. And in the beginning, some people felt the mother role was strong, and of course, in the black community, the mother role is very st

rong. As it moved on, and the depth of what she was trying to say, it moved to the daughter, Bernitha. It moved to the Sidney Poitier, Walter Lee, the sister-in-law, affected me-- because she was the one that really wanted to move. And her words always grabbed me, to get out of this place. And that means upward bound. To change. Let's get out of here. If all of us have to work awhile longer. So I was always impressed with that. And when the gentleman came from the homeowner's-- >> Homeowner's As

sociation-- >> Association. The part that grabbed me was when Walter Lee recanted and finally said this is my son. And then said my father earned this brick by brick, and that always got a tear from me. Because that so touched me. And that energy that gives you the motivation to move. To succeed. Is so God-given. People have to get out of your way. >> I hope that helps you. >> Thank you very much [applause]. >> And our last question. >> How do I adjust the microphone, I'm short [laughs]. >> I'll

come adjust it for you, don't worry about that, I can get up and do that. How about that? >> All right, thank you. >> Get closer to it, is that good? >> Yes. Hi, my name is Elena. I'm a PCC student. Also studying visual art. I wanted to ask you, since you are an activist, during the Trump election, I'm so sorry, personally-- go easy on me okay [laughs]. >> Take your time, take your time, breathe. >> [Laughs] Okay, during the Trump election, was when I really had started watching the news, and p

ersonally, just-- just watching a lot of his speeches and everything else, to be blunt, his incompetence really frightened me. It did. And when election day came up and I found out the majority vote was going to Hillary, I was feeling really relieved, but when I found out the electoral college overruled it, I started crying. And...but, it did...make me want to start becoming an activist. I wanted to support civil rights. I wanted to support the middle class. And I wanted to support the LGBT comm

unity, and I wanted to know, I don't know, where exactly to start. So you as an activist, where have you started? >> Okay she wants to know where can she start? Well I'll say this, you've already started by getting up. >> Yes [applause]. >> [Cheering] And now I'll turn it over to Mamie. >> My dear, you can start anywhere. At any time. You know right from wrong, because your mother taught you. And your dad taught you. When things are wrong, change them. But make sure you have all the information

correct. And don't hesitate to do a little research, and find out because you deserve to be treated fairly. And honestly. And that's what Democracy is all about. So change things for the better. And make sure you know what you're talking about. [ Applause ] >> Thank you so much, well, you know what, I think on that note, it's a great note, for us to get ready to see the film. Ladies and gentleman, it is my pleasure to give to you one more time, the amazingly wonderful, vibrant, 94-year-old Miss

Mamie Hansberry. [ Applause and Cheering ] >> I would like you [applause continues], thank you, I recently went to receive the National Women's Hall of Fame for Lorraine, in New York, a little town outside of New York. It's very hard to get there. But the whole town donates its time to the Hall of Fame women, and I met some wonderful people all over America, who have done things, great things. >> And so this is the medal from the National Women's Hall of Fame that was presented to Lorraine Hansb

erry in 2017. [ Applause ] >> Thank you so much. >> Thank you. >> Okay I'm going to take this. >> Thank you, and thank everyone for coming. Love you. [ Applause ] >> Didn't you have a birthday coming up? And you're going to be 95 years young, why don't we segue way this into while we're getting the film, let's everyone let's wish Miss Mamie a happy birthday, come on let's put something together here, come on, come on [applause] we can do that [applause]. I love the Happy Birthday to You, we got

this early and get that together, we're going to do the drama part here, [sings] happy birthday to ya, happy birthday to ya [clapping], happy birthday, happy birthday to ya, happy birthday to ya, happy birthday happy birthday. Happy birthday to ya [clapping] happy birthday. Happy birthday, happy birthday, happy birthday....