Archive for June 20th, 2012

June 20th, 2012

Michael J Fox is Inspiring…Congratulations Middlesex Community College

by Tony

I read the Lowell Sun’s coverage of Michael J Fox’s visit to Middlesex Community College last week and became intrigued by actor. I have loved Fox since his days of playing the likable, teen conservative Alex P Keaton in Family Ties. Motivated by Fox’s visit to MCC I picked up his latest book Looking Up. It is an inspiring account of a man succeeding in the face of adversity, a true lesson for all.

Below is Michael J Fox in one of his most memorable scenes, playing Johnny B Goode at a high school dance in Back to the Future.

Congratulations to Middlesex Community College for bringing such an inspiring person to Lowell to deliver a powerful message to both young and old.

June 20th, 2012

UMass Lowell Video

by Tony

Below is a time-lapsed video of the construction of the University Suites at UMass Lowell

June 20th, 2012

Bea Barron, a life lived to the fullest by Marjorie Arons-Barron

by Tony

The entry below is being cross posted from Marjorie Arons-Barron’s own blog.

I first met Bea Barron when I was a political reporter and she was selling ads for The Newton Times in the 1970′s.  She was a longtime community activist who had worked for Newton Fair Housing, marched with Dr.  King when he was in Boston, volunteered at the local NAACP headquarters and raised money for the civil rights struggle.  She embraced the antiwar movement and rode buses to Washington, to sit in at Senate offices and protest at the Pentagon. As the oldest person to participate, she ministered to the young demonstrators when they were tear-gassed.

She would, in years to come, become my mother-in-law.  But back then she was the grandmother figure in the Times newsroom, checking up on everyone’s emotional state, all the while working hard to get local shopkeepers to support the new anti-war paper challenging the establishment.

Bea Barron died peacefully at her home on Friday at the age of 95.  An Emerson graduate, who loved theater, she became the first female speech therapist in the Massachusetts public schools, only to be fired after three years because she was about to be married. Public schools back then were only interested in employing spinsters.

A mother of three boys, she devoted herself to supporting her doctor husband and his absorption in his clinical practice and cancer research.  She immersed herself as well in community causes. She served on the board of the Newton Cultural Affairs Commission, helping to start the Newton Arts Center.  In her mid fifties, she tired of waiting for her husband to find time for foreign travel, so she set about doing it alone.  It was frightening at first but exhilarating and set even freer her indomitable spirit.  Afraid to drive on highways at home, she went off solo on many trips to Europe, Mexico, Central and South America, the Middle East and India.  Family lore has it that she got lost once in Amsterdam, ended up in the red light district, and visited with some ladies of the night who took her back  to her hotel.  She acquired friends wherever she went.

Bea Barron had a horror of being like everyone else.  A kind of Auntie Mame character, during the last decades of her life, she dressed mostly in clothing from India, her signature look.  She had the exterior of the family’s Beethoven Avenue home painted a shocking raspberry, which faded into acceptability only after years of New England weather.  Inside, the house was filled with books, newspapers, magazines, paintings, sculptures and objets d’art from her travels.  In her late sixties, she bought an adult-sized tricycle with a huge wire basket for doing local errands, an idiosyncratic form of transportation that ended in near disaster when she improperly cornered at the intersection of Beacon Street.

Bea’s free spirit extended to her housekeeping talents and a general sense of disorder. Once, she wanted to darken the grasscloth wallpaper to better showcase the art and did it with diluted Yuban coffee.  Her refrigerator was an architectural dig, with some items that could only be identified by carbon dating.

Her hospitality was legendary. Ring her door bell, the front door opens. Her first words weren’t even hello but “what can I give you to eat?  Here, eat some more. You don’t like that?  Try this.  I’ll get you something else.”   She wore you down until you gave in.  Passovers at Bea’s in the old days said it all. They were totally inclusive and festive and included family, friends, friends’ friends, and occasional strays who had nowhere else to go for Seder.

The supply of food was especially endless on hot summer days at her pool, where the wonder was that no one drowned from having eaten so  much before swimming.  Among my most loving memories was Bea, in a floppy sun hat,  creating a garden bed by the house for my son Daniel, then just 10 years old.

She was a stubborn woman, which may have been the key to her endurance to age 95.  She leaves behind her three sons, five grandchildren, seven  great-grandchildren, and people from around the world who speak of her indomitable spirit, abiding friendship, expansive hospitality and penchant for doing things her way.

June 20th, 2012

Lowell Cemetery Monuments as Public Art (Commentary)

by PaulM

The Lowell Cemetery as a Place of Public Art

by Heidrun Ryan

Cemeteries are, perhaps, of greatest importance to the living. The monuments are meant to be seen: while personal, they may also be a source of both history and art for the larger community. The Lowell Cemetery is intimately connected to the community by the burial here of prominent Lowellians whose names can be seen on street signs all around Lowell. In an era which did not yet include public parks, “rural” cemeteries such as this one were to offer a place of recreation, including lessons in history, poetry, art, and architecture, to their visitors, some of whom might never see art in any other setting. Located about two miles from downtown Lowell, the cemetery was away from the mills and shops, but close enough to be within easy reach of visitors. The Lowell Cemetery can rightfully be counted among the treasures of Lowell’s public art.

The cemetery contains several works designed and executed by artists who were sought out because of their reputation, usually by prominent citizens. Two of these were highlighted in a recent (May 5, 2012) public tour of the cemetery given by Richard Howe, the Register of Deeds for Middlesex North and historian. The Ayer Lion serves as a monument to James Cook Ayer. From his vast fortune acquired as a patent medicine entrepreneur, Ayer gave the city its Winged Victory statue, which stands before City Hall. Ayer’s widow and children commissioned the London-based sculptor Albert Bruce Joy to make a suitable monument. The lifelike lion with the mournful face implies that only a person at the top of society would fittingly be mourned and guarded by “the king of beasts.” It is not known if Ayer himself had any say in the choice of this regal design for his monument; he was, as Howe related to the assembled visitors, confined to an insane asylum for the last years of his life. Certainly, this sculpture testifies to the wealth and status of the inhabitants of the family plot.

By contrast, the Mill Girl monument was dedicated to Louisa Wells, a “Lowell Mill Girl” who lived modestly and never married. Her will, which some cousins promptly contested after her death in 1866, directed her savings to be used for a grave marker. By the time the matter was settled (in her favor) twenty years later, the sum was large enough that the executor of her estate felt himself able to offer the job to Daniel Chester French, sculptor of the Lincoln Memorial. French himself declined, but gave the commission to his associate, Evelyn Longman. Howe pointed out that the mill worker in the monument is a weaver, Wells’s own profession; she holds a bobbin and strands of yarn on her lap, ritually cut to indicate the end of life. The inscription reads, “Out of the fibre of her daily tasks / She wove the fabric of a useful life.” Longman’s sensitive design and skillful rendering of facial features and drapery elevate this piece beyond that of graveside memorial; it celebrates and ennobles all of Lowell’s humble “Mill Girls” and reminds us that it is not only the rich and famous who are buried here; people from all walks of life are represented.

These representative works from the Lowell Cemetery illustrate the powerful connection this site has to the community of Lowell. Each monument tells its own story, but it is the entire site that evokes the memory of the city. It recalls a time when Lowell acquired for itself the fashionable “rural” cemetery which helped define its place in the forefront of American society. Individually and collectively, this remarkable open-air gallery represents the workers, the immigrants, and the titans of capital so vital to Lowell’s growth throughout its history. It unites private and public memory, nature and art, past and present. Lowell is reclaiming its present through its past, and the public tours offered at the Lowell Cemetery are part of the effort. As Richard Howe explained, the cemetery will be the endpoint of the Concord River Greenway, which will bind this site even more closely to Downtown Lowell. The gravesite of Senator Paul Tsongas, an enthusiastic and vocal advocate for Lowell’s revival and its Public Art Collection, fittingly overlooks the river and the end of the Greenway.

Principal Sources: Richard Howe, tour; Amos Blanchard, “An Address Delivered at the Consecration of the Lowell Cemetery, June 20, 1841” (Lowell: Leonard Huntress, 1841); John Gary Brown, Soul in the Stone: Cemetery Art from America’s Heartland (Lawrence, KS: University of Kansas Press, 1994).

Photos by Heidrun Ryan.