black man

As President Trump tries to convince voters that Democrats have let crime run amok, he’s digging into the country’s political past to cite one of the most controversial campaign advertisements that relied heavily on racist tropes.

During a campaign stop Wednesday in Gastonia, N.C., to stump for Republican U.S. Senate candidate Michael Whatley, Trump resurrected a 1988 George H.W. Bush presidential campaign ad featuring Willie Horton, a Black man convicted of rape and assault after his release through a Massachusetts prison furlough program.

A grainy black-and-white prison photo of Horton was used in the ad targeting then-Massachusetts Gov. Michael Dukakis, who was ahead of Bush in the polls. On Wednesday, Trump evoked the Horton ad in an effort to convince voters Democratic former Gov. Roy Cooper, Whatley’s opponent in the Senate race, is soft on crime.

“Willie Horton was a bad guy, really bad guy,” Trump said, before comparing Dukakis’s release of Horton to the pretrial release of a Black man who faces a murder charge for last year’s killing of a white Ukrainian refugee in Charlotte, N.C.

But Cooper was not the governor when the man was released or when he was later charged with killing the refugee.

“Same thing as this, same as, same exact thing,” the president told the crowd in Gastonia.

It’s the second time Trump has invoked Willie Horton while campaigning for his party. Last month during a speech in Las Vegas, Trump called the Charlotte killing a “Willie Horton — modern day” tragedy.

“After the Willie Horton ad dropped, Bush established a lead in the polls and never looked back,” said Andra Gillespie, a political scientist at Emory University outside Atlanta. “They showed the picture, and you ascribed race onto it. It wasn’t sufficiently condemned as racism.”

A spokeswoman for the Republican National Committee, which organized the Gastonia campaign rally, defended Trump’s reference to Horton.

“Roy Cooper emptied prisons and released thousands of violent monsters onto North Carolina streets,” RNC National Press Secretary Natalie Baldassarre said in a statement to the Associated Press. “The results had deadly consequences, and every Democrat who supports abolishing or defunding the police, paroling criminals, and implementing lax bail policies will have to answer for their dangerous records in November.”

Trump paints North Carolina as a ‘dangerous state’

Wednesday’s rally cited the Aug. 22, 2025, killing of white 23-year-old Iryna Zarutska on a commuter train in Charlotte.

Decarlos Brown Jr., who is Black, faces murder and other charges in Zarutska’s stabbing, which was captured on video. Court records showed that at the time of the attack, Brown had 14 prior cases in Mecklenburg County, including serving five years for robbery with a dangerous weapon. Doctors had diagnosed him with schizophrenia.

Republicans and other influential voices in Trump’s Make America Great Again movement claimed the attack showed how Democratic elected leaders in large cities across the U.S. failed to protect residents, while some conservative commentators suggested Democrats were ignoring an unfounded “black-on-white” crime problem.

“He should have been locked up for many, many years,” Trump said Wednesday of Brown.

“Nobody used to think of North Carolina as a dangerous state, criminally dangerous,” Trump added while blaming Cooper. “It was apple pie, right? Now, it’s one of the most violent, one of the worst in the whole nation.”

According to 2024 FBI crime data, North Carolina ranked 19th for statewide violent-crime rates in a 50-state comparison.

During the Gastonia rally, a mosaic of mug shots was displayed on a large screen for the crowd. Trump claimed Cooper had cut a deal with “radical activists” to release “some of the worst criminals in the nation into North Carolina.”

“He released these people. This is just a small group of them,” the president said, pointing to the mug shots that overwhelmingly featured Black people.

Although it is unclear under what circumstances the people in the mug shots were released, state corrections officials have said Brown was not released early from prison or under Cooper’s COVID-era prisoner-release settlement that Trump referenced.

Before fatally stabbing Zarutska, according to court records, Brown had been on a pretrial release over a misdemeanor offense that was ordered by a magistrate after Cooper left office.

‘Tapping into anger’

Republicans are under pressure to win over swayable voters as the November midterms approach with Democrats pushing to gain control of the House, the Senate, or both. Some political strategists say part of the ploy of adding Horton to the North Carolina Senate campaign is to rile up Trump’s base.

“He’s tapping into the anger to remind Republican voters of what he thinks their first principles are in hopes that will be successful for Republican candidates,” Gillespie said.

“He’s doing this to try and divert attention away from criticism of how he’s governing at the moment,” she added. “Democrats want to make the story of this election Trump’s low approval numbers, the war in Iran, inflation, being preoccupied with things that don’t make a whole lot of sense when there are really serious things going on in the country.”

Dewey Clayton, professor emeritus of political science at the University of Louisville, said Trump and other Republicans may be thinking that what worked before in the 2016 and 2024 elections presumably will work again in this year’s midterms.

“It was very effective,” Clayton said. “You do not necessarily have to look at it as racial, in and of itself, although [race] clearly becomes a component. In 2026, talking about ads going back in the 1980s? I’m sure he had consultants that were basically saying this is tried and true.”

The GOP may need the push in November, Gillespie warns. “I think the motivation by going back to these old strategies is there is real concern about Republican enthusiasm and you might see lower Republican turnout,” she said.

Rhetoric attempts to divert voters’ attention from rising costs

The tactic speaks to desperation by Trump and the Whatley campaign, according to Morgan Jackson, a partner with Nexus Strategies in Raleigh.

“Trump brings up Willie Horton to stoke racial division, something he’s used for the last 10 years,” said Jackson, who is chief strategist for Cooper’s campaign. “It is very clear from the president’s speech last night their only goal is to sow division and hate and lies. Michael Whatley doubles down in support of that effort.”

Jackson also said Trump and Whatley are trying to change the election’s message of “rising inflation and the cost of everything.”

“They want to use inflammatory rhetoric, hate speech and lies to sow division in a chance to win an election,” he said. “By referencing Willie Horton, they are showing their hand very clearly.”

The AP sent an email Thursday seeking comment from Whatley’s Senate campaign.

Williams writes for the Associated Press. Williams reported from Detroit. AP videojournalist Erik Verduzco in Gastonia, N.C., contributed to this report.

August Wilson’s “Ma Rainey’s Black Bottom,” the first of his plays to reach Broadway, catapulted the author’s playwriting career.

It’s the only drama in Wilson’s 10-play American Century Cycle not set in Pittsburgh’s Hill District. But the series might never have come to fruition were it not for the way “Ma Rainey’s Black Bottom” heralded the emergence of a major new American dramatist.

Although it’s still one of his most produced works, “Ma Rainey’s Black Bottom” has the hallmarks of an early piece. Wilson discovers his playwriting voice in this play, but he’s still working out his approach to dramatic structure.

I wasn’t champing at the bit to see another production of “Ma Rainey’s,” but I’m glad I didn’t miss this latest Wilson revival at A Noise Within, directed by Gregg T. Daniel. Acted with breathtaking ensemble naturalness, the play seems lived in rather than performed.

Francis C. Edemobi, from left, Amber Liekhus and CJ Obilom in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The voices of the characters come through as though we’re eavesdropping from a discreet distance on their banter and squabbles. There’s nothing more riveting on stage than the truth, and here we have human beings in all their flagrant, unadorned and seemingly irreconcilable complications.

Set in a Chicago recording studio in 1927, the play splits its focus between the title character, a fictitious re-creation of the great blues singer Ma Rainey engaged in a power struggle with her white industry overlords, and the exchanges of her sidemen, a quartet of Black men with markedly different ambitions and sensibilities.

Levee, the role magnificently played by Chadwick Boseman in George C. Wolfe‘s 2020 film adaptation, may have more of a claim on the protagonist role than even Ma Rainey, who’s the play’s thematic center. As she throws her diva weight around in defense of a talent born out of Black suffering, she crystallizes the racial politics that Wilson powerfully illuminates.

But Levee’s role is the most dynamic in the play. A trumpeter who wants to move the band in a more musically sophisticated direction, he’s written his own arrangement of the song “Ma Rainey’s Black Bottom” that they’ve come to the studio to record. But Ma Rainey insists on doing it her way, even if Levee’s version is more interesting from a jazz perspective.

Overcome with anger from a traumatic childhood in which he witnessed his mother being raped by a mob of white men, he can’t tolerate slights, big or small. And his fiery temper, igniting at every possible moment with his older and more accommodating bandmates, turns this snapshot of history into genuine tragedy.

Kai A. Ealy, from left, Alex Morris, Gerald C. Rivers and Jamar Gilbert in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The bedraggled studio has been visually renovated with the wood-slatted elegance of Tesshi Nakagawa’s scenic design. Daniel’s production demands that we experience the play in a fresh light. The period is respected but never allowed to become stiff or artificial. This isn’t a waxwork staging.

Standing microphones, placed on different tiers of the set, never let us forget that Wilson was first and foremost a conductor of voices. He bestows on his characters arias, and Daniel’s cast delivers them as though the words were expressly made for these particular actors.

Jamar Gilbert’s Levee moves through the world as if it’s a battle zone, which of course for him it has been. Conflict has dogged him his entire life, and injustice is what he’s come to expect. His focus is on himself, his music, his sensual pleasures and his determination not to be anyone’s victim. He takes as much pride in the shine of his new shoes as he does in the flirtatious giggle of a pretty woman.

Toledo (Gerald C. Rivers), the philosopher and historian of the group, tries to broaden Levee’s perspective, but the two men have a knack for getting under each other’s skin. Their antagonism is fueled in part by Levee’s immaturity, but there’s also a divide in their worldview: Levee wants society to change in time for him to make good while Toledo is more concerned with the collective spirit of his people.

Meanwhile, Slow Drag (Alex Morris) mostly wants to get on with the session, collect his money and enjoy life as it was meant to be enjoyed, with whiskey, a little reefer and good-looking women. Cutler (Kai A. Ealy) tries to be a moderating influence, but he winds up as exasperated by Levee as Toledo.

Alex Morris, from left, Amber Liekhus and Jamar Gilbert in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The authenticity of the production encompasses the music. These actors don’t mime making music, as is often the case in revivals. They jam together, modestly but effectively enough to make their recording session real to us.

There’s nothing at all modest about Amber Liekhus’ musical talent. Indeed, Liekhus is the first actor who was able to convince me that the character of Ma Rainey really is a professional, jobbing singer. She doesn’t imitate being the mother of the blues, as her character is known. She earns the distinction through the wondrous depths of her soulful singing.

She refuses to be bulldozed by either Irvin (Bert Emmett), her manager, or Sturdyvant (Matt Foyer), the owner of the recording studio, knowing full well that they depend on her gift for their pile of money. Her insistence that Sylvester (Francis C. Edemobi), her nephew with a pronounced stutter, speaks the intro to her new record, is her way of asserting human control over corporate greed.

Liekhus’ Ma Rainey isn’t merely being temperamental, as Sturdyvant and Irvin assume. She’s using her limited leverage in whatever ways she can. There’s something touching about her imperiousness, a regal vulnerability that shines through even in her romantic interaction with Dussie Mae (CJ Obilom), whom Levee has his predatory eye on.

The honesty of the acting is so enlivening that I’m tempted to rank this production among the very best Wilson revivals I’ve seen. If there’s one slight misstep, it happens at the play’s violent climax. The moment makes perfect psychological and dramatic sense, but the confrontation needs a few more beats than Daniel allows.

But this encounter with “Ma Rainey” reveals that even early Wilson can, in the right hands, offer unadulterated playwriting greatness.