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    Texas Icon

    New book by Jan Reid explores why Ann Richards continues to fascinate and endure

    Tarra Gaines
    Nov 17, 2012 | 12:18 pm
    • Ann Richards was a born entertainer, author Jan Reid says.
      Photos courtesy of the Dolph Briscoe Center for American History. From Let thePeople In: The Life and Times of Ann Richards by Jan Reid, © 2012, TheUniversity of Texas Press
    • Let the People In: The Life and Times of Ann Richards, by Jan Reid.
      Courtesy photo
    • Author Jan Reid believes Richards lives on so vividly in our memories becauseshe was “such a refreshing difference from what we see now.”
      Courtesy photo
    • Photo of a young Ann Richards.
      Photos courtesy of the Dolph Briscoe Center for American History. From Let thePeople In: The Life and Times of Ann Richards by Jan Reid, © 2012, TheUniversity of Texas Press
    • Richards in her later years.

    Though Texas remains very much a Republican state, one Texas Democrat still holds a high approval rating throughout the country. With a documentary making the film festival rounds, the play Ann headed for Broadway and now a biography on her life hitting the bookstores, Texas’ own white hot mama, Ann Richards, still blazes in our imagination six years after her death.

    Why does her life, personality and politics still fascinate us? This is the question I posed to Jan Reid the author of Let the People In: The Life and Times of Ann Richards.

    In this political world of scripted politicians and 30-second sound bites, Reid believes Richards lives on so vividly in our memories because she was “such a refreshing difference from what we see now.”

    Reid says Ann Richards understood style and show business and used them to accomplish her goals in government.

    Reid, a journalist and novelist, first met Richards in 1980 and would later serve as an advisor on environmental policy during her 1990 race for governor. During her governorship, he was sometimes a speech writer for her appointee John Hall, who served as chair of the Texas Natural Resource Commission. (Reid’s wife, Dorothy Brown, was a friend of Ann’s who served as a chief aide on her staff.)

    In the prologue to the book, Reid is upfront about his connection with Richards.

    “I knew people would know who I was and who my wife was, so if I wrote a puff piece about Ann Richards, I’d just get beat to hell. I was really taking pains to give the warts in addition to the smiles.

    “I was really careful about that. But I also thought I had to be upfront about it,” he says. “I couldn’t pretend that I was never in the picture and that I didn’t have a personal relationship with her. [But] I didn’t want that to intrude.”

    The real Ann Richards?
    During the book’s recounting of her run for Texas governor, Reid references an October 1990 Texas Monthly profile of Richards where she says, “Everybody wanted to let Ann be Ann. And they all had different Anns.” I ask Reid if this was also a problem he had to confront when writing the book.

    “Well, yeah, particularly the more I found about her other periods,” he says. “I had the picture of her when she was 47 years old, when her political career was just taking off. But I kept finding layers and layers of Ann both from what people told me and that wealth from the archive.”

    Reid found an Ann who “had a lot of fear. She was fragile in a lot of ways. That was the biggest surprise to find how human she was.”

    Reid says that researching and speaking with her friends and family who knew her before she began running for political offices led him to understand that the woman we remember striding that motorcycle with white hair piled high as the Texas skies was one of many Anns.

    “When she decided to become Ann the public person, she created the persona that worked pretty well for her. Not to say this was a dishonest strategy on her part. She was a born entertainer,” he explains, adding that she understood style and show business and used them to accomplish her goals in government.

    Yet by delving into some of Richards' correspondences, especially those between Richards and Edwin “Bud” Shrake, who in the prologue of the book Reid describes as the “second great love of her life,” Reid found a Richards who “had a lot of fear. She was fragile in a lot of ways. That was the biggest surprise to find how human she was. It was good to discover that.”

    Though deeply focused on mapping the “amazing narrative arc” of her life, Reid pauses throughout the book to provide historical and cultural context for the reader. All this background information helps us understand how Texas created Richards and how Richards changed Texas.

    The many photographs of Richards with political and media celebrities included in the book also help give the impression that Richards knew everybody and was always in the center of the action. When I make this observation, Reid agrees.

    “Oh she did,” he says. “Her family was way too close for comfort near the Kennedy assassination. She had these very unpleasant face-to-face encounters with LBJ and Carter. She was in New York during 9/11. There was big earthquake in San Francisco in the '80s and she happened to be in San Francisco. It seemed like she was just everywhere all the time.”

    “You hear a lot about the cracks in the glass ceiling,” Reid says. “Well, Ann Richards put some of them up there.”

    Ann Richards’ legacy
    Though Texas might remember Richards with great fondness, I wondered if Reid still saw her presence in the current political landscape. Reid says he continues to see Richards’ influence, even in Gov. Rick Perry’s administration, when it comes to diversity in political appointments. Thanks to Richards, we can never go back “to the old, white boys club.”

    “She was also the first ardent feminist elected to a major office in the United States,” he says. “You hear a lot about the cracks in the glass ceiling. Well, she put some of them up there. Hillary Clinton considered Ann her mentor when she was first lady and then Senator of New York.”

    As we finish our conversation, I have to ask Reid if he felt a sense of deja vu when watching Richards’ daughter, Cecile Richards, the current president of Planned Parenthood, speak at the Democratic Convention.

    “Of course. Cecile is a star — just in a different way — just like her mother was. She’s just blossomed, as all her children have,” he says.

    “But Cecile’s a politician. She can’t come back to Texas and run for office, it doesn’t seem, but she’s probably accomplishing more now than she would if she had an office. The last many weeks of the presidential campaign she was on the road with Obama. He was seeking her council all the time.”

    And how would Richards feel about that campaign and its outcome? Reid believes, “To have been able to see that in her lifetime would have just been amazing to her.”

    unspecified
    news/arts

    Piano competition news

    Cliburn piano competition locks in 20-year commitment to Dallas and SMU

    Stephanie Allmon Merry
    Mar 5, 2026 | 10:00 am
    Shuan Hern Lee at 2019 Cliburn International Junior Piano Competition and Festival
    Photo by Ralph Lauer
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    The Fort Worth-based Cliburn is crossing county lines and making a long-term commitment to Dallas: The arts organization is entering a 20-year partnership with Southern Methodist University and the Dallas Symphony Orchestra for the next five editions of its Cliburn International Competition for Young Pianists.

    The next one will be contested June 10-19, 2027, in Dallas.

    Formerly the Cliburn International Junior Piano Competition and Festival, the contest welcomes top pianists aged 13 to 17 from around the world for both fierce competition and educational enrichment. The Dallas partnership will include an in-residence fellowship program on the campus of SMU consisting of masterclasses, workshops, artist conversations, performance opportunities, and other scheduled activities, a release says.

    “As the Cliburn continues to encourage the futures of the amazing young artists who participate in the Cliburn International Competition for Young Pianists, we must also invest in the future of the communities that make events like this possible,” says Cliburn president and CEO Jacques Marquis in the release. “By cementing the partnership with SMU and the Dallas Symphony Orchestra - true pillars of the Dallas artistic community - for the next 20 years, we are telling the people of Dallas that the Cliburn is here, and that we are committed to the development of the next generation of great artists.”

    'Cliburn Junior' history
    The inaugural Cliburn International Junior Piano Competition and Festival was held in June 2015 at Texas Christian University, with the Fort Worth Symphony Orchestra accompanying the finalists. The top three finishers in 2015 were from Kazakhstan, Russia, and China.

    Cliburn Junior Competition winners Cliburn Junior 2023 winner Seokyoung Hong (center) with second-place Yifan Wu (left), and third-place Jan Schulmeister. Photo by Ralph Lauer

    The competition for teens moved to Dallas and partnered with SMU and the DSO for the 2019 edition, attracting a new audience of piano enthusiasts on the east side of the Metroplex. (The Cliburn-experts at CultureMap Fort Worth published a guide to getting the most out of the competition in Dallas.)

    The move to Dallas marked the first time the organization, a crown jewel of Fort Worth culture, staged a major program outside namesake Van Cliburn’s adopted hometown since Cliburn competitions began in 1962.

    At the time, Marquis explained that, "One key to continuing the Cliburn’s strategic advancement is to continuously reach a broader community, both around the world and in our own backyard."

    The junior competition was held in Dallas again in 2023; Seokyoung Hong, a 15-year-old phenom from South Korea, took home the top prize.

    A few "Cliburn Junior" laureates have gone on to compete in the Van Cliburn International Piano Competition; notably, Tony Yike Yang, a Canadian pianist who competed in both the 2015 Cliburn junior and the 2017 Cliburn International, where he earned a spot in the semifinals. And Clayton Stephenson, who competed in the 2015 Cliburn Junior and returned for the 2022 Cliburn International, where he was a fan-favorite finalist (and brought the house down in Bass Hall with a performance of the Gershwin Piano Concerto.)

    Clayton Stephenson, 23, of the United States Clayton Stephenson competed in the 2015 Cliburn Junior Competition and returned for the 2022 Cliburn International Competition, where he was a finalist. Photo courtesy of The Cliburn

    The Cliburn also just announced its further stretch, to Houston, where the inaugural Cliburn International Competition for Conductors will take place in June 2028.

    Looking ahead to 2027
    For the 2027 young pianists' competition, per tradition, the Preliminary and Semifinal Rounds will be hosted on the campus of SMU, where participants will also reside throughout their time in Dallas.

    The Final Round will move to the Meyerson Symphony Center, where six young pianists will perform one concerto movement with the Dallas Symphony Orchestra under the direction of Maurice Cohn, music director of the West Virginia Symphony Orchestra and former assistant conductor of the Dallas Symphony Orchestra.

    The 2027 competition jury will be chaired by Sa Chen, the 2005 Van Cliburn International Piano Competition bronze medalist. Additional jurors will include:

    • Kenny Broberg, USA (2017 Cliburn silver medalist)
    • Lucille Chung, Canada/USA
    • Alessandro Deljavan, Italy (2009 & 2013 Cliburn jury prize winner who returns to DFW frequently for concerts)
    • Marie-Josèphe Jude, France
    • Alexander Korsantia, Georgia/USA
    • Alessandro Mazzamuto, Italy
    • Noriko Ogawa, Japan
    • Steven Osborne, Scotland

    Alessandro Deljavan Italian pianist and Cliburn alum Alessandro Deljavan will serve on the jury. Photo courtesy of Chamber Music Society of Fort Worth

    Pianists aged 13 to 17 are invited to apply by November 17, 2026. The Cliburn will invite 38 artists to participate as Piano Fellows; from this group, 24 pianists will be selected to compete for prizes. All applicants must have been born on or after June 7, 2010, and before June 19, 2014.

    More information can be found at the competition's website.

    dallas symphony orchestrasmuvan cliburn competitionpianocliburnCliburn
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