Music Focus - Macon County Tourism Guide

April 2011

RESOURCE GUIDE

This Issue

Celebrating The Year of Macon County Music Art & Culture Where to Worship In Macon County

Macon County, Alabama

History

Heritage

Hospitality

T

he production and publication of this Macon County Tourism Resource Guide was made possible through the a USDA Cooperative agreement with Tuskegee University Rural Business and its Economic Development Program. Tourism can bring prosperity and change to long-isolated communities.

It is impossible in this first of-a-kind guide, focusing on Macon County’s rich past and evolving present to survey the topic comprehensively, or even to include all significant historical sites. This work is necessarily selective rather than all encompassing. By using photographs to highlight a few examples, Dr. Youssouf Diabate this resource guide attempts to call attention to the composition of our rural landscapes and tourism assets. By tracing the stories of a few local, state, and national patterns of development and by looking closely at a few communities, congregations, families, and individuals as well as their hopes, purposes, and endeavors, it hints at the complexity of the stories that permeate Macon County and its affiliated towns and cities.

This resource guide will be used as a tool for economic development in Macon County and others like it will be replicated for other Black Belt communities. It is a tool to be used along with other strategies to grow tourism business. As the volume of tourists increases, so will the need for restaurants, souvenir and novelty stores, other retail establishments, tour guide services, still and video photography and other businesses throughout the county all of which can derive income from visitors. This may spawn additional tourism infrastructure including new hotels, motels and bed-and-breakfast operations. The resource guide will increase awareness, trigger interests and boost tourism, thereby creating business opportunities, jobs and new income. Tuskegee University’s Rural Business and Economic Development Program is grateful for the steady encouragement and expert assistance from economic and business developers from USDA Rural Development’s state office, especially Mary Ann Clayton; and Quinton Harris, who often remind us of what rural development is all about.

Respectfully,

Youssouf Diabate, Ph.D Director Rural Business and Economic Development Program Tuskegee University Tuskegee, Alabama

ALABAMA

Come Grow With Us Macon County Commission

Miles Robinson District 1

Albert Daniels District 2

Louis Maxwell Chairman

Andrew Thompson, Jr. District 3

Robert “Mike” Berry District 4

A County Rich in History, Heritage and Hospitality 101 East Rosa Parks Avenue • Tuskegee, Alabama 36083 • 334-727-5120 • www.maconcounty-al.org Macon County Agencies Working Hard To Serve All Citizens: Macon County Sheriff’s Department • East Central Mental Health Services • Macon County Library • Macon County Water Authority • Macon County Health Department • Macon County Elderly Nutrition Program • Macon County Rural Transportation • Emergency Management Agency • Macon County Juvenile Services • Macon County Extension Service • Macon County Community Action • Macon County Emergency Medical Service • Retired Senior Volunteer Program • Senior Aid Services to the Elderly • County-Wide Water System • County-Wide Solid Waste System • Macon County Council For Retardation and Rehabilitation

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Contents

PUBLISHER

Noah Anthony Hopkins

EDITORIAL DIRECTOR Karin Grant Hopkins

EDITORS

Dionne Y. Inman Karin Grant Hopkins

ART DIRECTOR/GRAPHIC DESIGN Noah Anthony Hopkins

PRINCIPAL PHOTOGRAPHER Noah Anthony Hopkins

COMMUNITY TOURISM NETWORK, INC. 608 Dibble Street Tuskegee, Alabama 36083 334.725.8496

tourismresource@gmail.com SPECIAL THANKS TO: USDA Rural Development, Cooperative Programs Alabama State Representative, Pebblin W. Warren Rural Business and Economic Development Program Tuskegee University Tuskegee University Cooperative Extension Program Atty. Milton Davis *Historic photos courtesy of Tuskegee University Archives

H

LIONEL RICHIE

is birth certificate says born in Tuskegee. His passport says citizen of the world. His credits say Oscar and Grammy award winning, hit-making singer/songwriter/producer with sales of 100 million records. His reputation says Tuskegee’s Shining Star respected by his peers in the music industry and beloved by fans in this By: Karin Hopkins than 10 million country and around the world.

Lionel Richie has come a long way since his copies and won childhood days in Tuskegee. During his teen years, the Grammy for the family moved to Joliet, Illinois and he A l b u m o f t h e graduated from Joliet Township High School. He Year. By this time returned to his hometown to attend college on a L i o n e l R i c h i e tennis scholarship. While at Tuskegee Institute was so hot, he (now Tuskegee University), he formed a series of was invited to R&B groups. But in 1968, he took a giant step perform at the towards his future when he connected with the c l o s i n g c e r e monies of the Commodores.

The Commodores originally signed with Atlantic 1984 Olympics Records but made a bigger splash when the group in Los Angeles, signed with Motown Records. The Commodores hit an event that the road with the Jackson 5, where they expanded was broadcast to worldwide a fan base already in tune with their music through a audience. radio airplay of songs like “Brickhouse.”

In 1985, Lionel Lionel Richie easily shifted gears and scored big Richie won an as a balladeer with “Easy” and “Three Times A Lady,” tunes that continued to swell The Oscar for “Say Commodores’ fan base and propel Lionel Richie into You, Say Me,” a tune he wrote the realm of superstardom.

Richie performing at the Renaissance Hotel By the late 1970’s, Lionel Richie was writing and sang for the in Montgomery, Alabama in October 2008 White music for other artists. He composed “Lady” for movie Kenny Rogers and it was a #1 hit song. In 1981, Nights, starring Mikhail Barishnikov, Gregory Lionel Richie paired with Diana Ross for the duet Hines and Helen Mirren. This song reached #1 and “Endless Love,” which became one of Motown’s most stayed at the top of the music chart so long it was popular recordings. In 1982, Lionel Richie stepped the #1 song for that year.

Also in 1985, Lionel Richie collaborated with out as a solo artist. His self-named debut solo album Michael Jackson for a musical project of epic prosold 4 million copies. portions.

In 1983, he released his second album, which In the interest of saving lives, these superstars sold more than 8 million copies and won 2 Grammy awards. Many of his releases were sentimental love gathered their peers for an unprecedented jam songs, prompting a critic to describe him as “ the session. They co-produced “We Are the World,” which became another #1 hit with sales generating black Barry Manilow.”

The single, “All Night Long” reached #1 in 1983. millions for famine relief in Africa.

By 1987, an exhausted Lionel Richie, took a The lyrics describe people dancing in the street and break to tend to his ailing father, Lionel B. Richie, the music has a Caribbean beat.

According to published reports, Lionel Richie Sr., who died in 1990.

He eventually went back to work and throughsays the songs he writes are based on real events out the 1990’s and 2000’s, Lionel Richie continued and he has experienced parties in the s t r e e t a s writing, singing and performing, pleasing his loyal d e scribed in “All Night Long.”

In 1984, his album “Can’t Slow Down” sold more base and adding new fans.

In 2008, he once again returned to Alabama to world-class educational offerings at Tuskegee perform at a concert held in conjunction with the University, which has already earned a reputation grand opening of the Tuskegee Airmen National for excellence in architecture, engineering, Historic Site, a quasi-museum in Tuskegee veterinary medicine and other disciplines. Attorney established by the federal government to honor the Davis says the Lionel Richie Fellows Program ”is heroic black pilots who served in World War II. open to students from Tuskegee University desiring In 2010, Lionel Richie announced that he was careers in sports and entertainment management. creating the Lionel Richie Foundation, a vehicle that Internships will be established through the connects his considerable talent and legacy to the Foundation with the major corporate entities City of Tuskegee and Tuskegee University. In 2011, specializing in these professions and allow unprecedented access and apprenticeship opportunities for Tuskegee University students.”

His catalog of music is massive and includes classics from the 1960’s, 1970’s, 1980’s, and 1990’s as well as new material for today’s generation.

Lionel Richie produced a remix of “We Are the World” with Justin Bieber singing Richie’s original part of that song.

He has a tremendous following in the country music world and has recorded duets with several country stars including “Stuck On You” with Darius Rucker, “Sail On” with Tim McGraw and “Easy” with Willie Nelson.

He continues to perform live and his tour Lionel performing for the opening of the Tuskegee Airmen National Historic Site schedule has taken him to faraway places including he appointed his lifelong friend, Tuskegee attorney Australia, Morocco, Dubai, Qatar and Libya.

Milton C. Davis as vice president. “He is building the Lionel Richie Legacy Museum on the site of his home house directly across from the entrance of Tuskegee University.” Milton says, explaining the vision this way. ”This Legacy Museum will house all of the memorabilia, awards, archives and documents from the superstar entertainer and global business man and house offices for the Foundation.”

The Lionel Richie Foundation also will create a long distance learning program to allow the university to teach students no matter where they are in the nation or on the planet. Attorney Davis says, “Those Attorney Milton C. Davis, his wife Dr. Myrtle Goore Davis and Lionel persons desiring to Richie register for classes No matter how far his travels take him or how at the university high his records soar on the charts, there is only one will be able to at- place where people remember him as a novice tend those classes dreaming of a career in the music industry, a college in real time any classmate majoring in Economics, the son of a TLionel Richie’s childhood home on West where in the world. respected educator named Mrs. Alberta Richie and a Montgomery Road in Tuskegee This capacity will young boy whose nickname was “Skeet.” That place bring the world to Tuskegee and Tuskegee to the is where life began for the now legendary Lionel Brockman Richie, Jr. world.”

That place is Tuskegee.

The foundation also will administer the Lionel Richie Fellows Program. This will further enrich the

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A COUNTRY MUSIC GIANT

By Karin Hopkins

James Segrest now lives in Mont­ gomery, a short distance from the small farm in Shorter, where he was born. Ultimately, fate transported him to a different world, a place with the rare air reserved for geniuses, the gifted and the greats.

We interviewed him for the Macon C o u n t y To u r i s m Resource Guide in his living r o o m .

Lounging in his comfortable chair, his aura dominated the s p a c e just as it did when he commanded the stage during his glory years.

That aura combined with his storytelling gift and powerful singing voice earned James Segrest t h e b i g g e s t p r i z e s i n t h e entertainment business—steady performance book­ ings and a recording contract with a major record label.

“I had cut a little 45 with a local label...and a guy in Nashville got a hold of a copy...One night I was down here playing music...and the phone rang...and it was him from Nashville wanting to know if I’d be interested in a recording contract with ABC...He wanted to know if I could be there on Monday. This was like Friday night. We went on up there. I took my lawyer with me and we signed with ABC.” James Segrest was destined for greatness but he started on a rocky road.

When he was eight years old, he disobeyed his father and toyed with a guitar that he had been told not to touch. He broke a string on that guitar. Consumed with fear, he went with his father to the music store in Tuskegee to buy a replacement string. He was

surprised when his father also bought a guitar for him.

A few years later, a youth gospel quartet, which included James Segrest, won a talent show held in Tuskegee. This was in the 1950’s at a time when Tuskegee was thriving with many stores and businesses. Tuskegee also was where everybody in Macon County and neighboring communities came for big events like that talent contest.

Winning lit a fire in James Segrest and by the 1960’s he was writing songs with the hard living themes that permeate country music.

BANKRUPT by James Segrest “So the mortgage folks called...gonna take my house away. And I guess I gotta let ‘em cuz I ain’t got the money to pay.

I just can’t stand it, can’t take itnomore…when the insurance man come knocking on my door…I said Bankrupt…I’m going Bankrupt” His lyrics can bring you to tears as he describes hurt and hardship. Yet this is pure empathy and not his personal experience. He never did drugs. He never went to jail. He never did anything scandalous.

James Segrest lived to work on stage and in recording studios.

In 1970, he landed his record deal and scored a big hit entitled “What I’d Give to Be The Wind.”

Radio airplay and live performances grew his popularity. His fan base stretched throughout this country.

He worked with Willie Nelson before Willie developed his trademark braids and outlaw persona. He opened for Conway Twitty and was a contemporary of Elvis Presley. For 45 years, James Segrest wrote songs that were true to traditional country music.

BACK IN THE BEER JOINTS by James Segrest “I learned my trade in taverns and honky-tonks and bars…sound of crying fiddles…and pedal steel guitars.

Back then I barely made enough for drinks and cigarettes. I lost my heart in the beer joints and I ain’t found it yet. A few more years went by and I was really moving up…playing all the dance halls and big city clubs. Had a Silver Eagle bus…roadies and motels…a record on the charts doing fairly well. Now I’m Back in the Beer Joints Again…Back where it really all began…and I guess this is where it all will end…Back in the Beer Joints Again” A truly gifted song stylist, his delivery is always magnificent, regardless of who composed the lyrics.

Clint Dennis, a member of his band, wrote a tender song about an ugly situation. James Segrest conveys it with a blend of romantic sweetness and gut­wrenching pain, It’s a long way from rural Macon County to making it a ballad that is both easy listening and gritty national fame. But James Segrest traveled that road and reality. left a trail of great music along the way.

ALABAMA DREAMS by Clint Dennis “As pure as Southern dirt, all we had was each other…didn’t seem to be enough back then. I worked so hard it hurt…to make one end meet the other…Now I’d gladly do it all again. I did some taking with a gun…left Alabama on the run. I just had to get away from that old farm. But I didn’t make it far. They put me here behind these bars and I miss my woman’s tender loving arms.

My Alabama Dreams always put my mind at ease. They take me back in time to the world I left behind” His ladylove, Angie is also his number one fan. A musician herself, she has an ear for musical excellence.

She stated, “He come into a club I was playing at and somebody said James Segrest is in here and I said we got the star in here and he gets up on the bandstand and sings with us and I’m like this is great. I’ve been a fan of his for a long time.”

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P L AYBI L L TUSKEGEE ALABAMA

Jays THE JOyETTES

Tuskegee’s

By Karin Hopkins n the 1960’s, when the world’s ear was tuned to the Motown sound, Tuskegee launched an all­girls singing group called the Joyettes. They were equal in talent and style to the divas in Detroit and were often compared to the hit­makers of that era.

The Joyettes consisted of 16­year old Joyce Carter (German), 17­year old Delois Williams (Harris), 18­year old Vera Williams (Smith) and 18­year old Sylvia Thornton (Smith). The parents of Joyce, Vera and Delois were friends who sang in a group called the Tuskegee Sextet.

Vera says, “We knew as little kids that we could sing.

I

‘Lois and I and my baby brother who was about five at the time did three­part harmony at the church...five, six and seven years old…” Delois adds, “We would have been a youtube phenomenon but of course there wasn’t any youtube back then.”

These four teenagers morphed into a real group, on the same level as the Supremes and Martha and the Vandellas. The comparisons started after The Joyettes blew the roof off of Logan Hall at Tuskegee Institute during the 1966 Freshman Talent Show. After the contest, while attending her classes at Tuskegee Institute,

Delois says she was summoned by the Dean of Students, Dr. P. Bertrand Phillips. “I thought I had done something horrible…and he asked me about our group. I felt so re­ lieved because I knew then that I was not in trouble. He just wanted to meet us.” During that meeting, Dr. Phillips paired The Joyettes with a group of young male musicians who were named The Jays, a band that Joyce describes as, “the precursors to The Commodores.”

The Jays The 1960’s were a magical time for musicians in Tuskegee. In addition to the Joyettes and The Jays, other as­ piring entertainers likewise blossomed at this time. Janis Carter and Bill Patterson made a name for themselves as a duet. However, Janis was versatile. She would switch gears and play piano with The Joyettes. Janis’ singing partner, Bill also was multi­talented. He was The Joyettes’ songwriter.

Another peer group was The DuPonts, which was Tom Joyner’s musical jump off. Vera chuckled at the memory of the now famous syndicated radio deejay Tom Joyner and his clown­ ing around back then. “Can you believe that Tom Joyner used to open up a show for us? Yes he did.

And he’d jump out there in his little yellow pants with the polka dot drawers showing through.”

At that time The Joyettes Janis and Bill were rising fast with bookings in big cities including New York and Atlanta. Yet Tuskegee’s Dreamgirls walked away from the music busi­ ness and with no regrets. Vera says, “Even though we were invited by Capitol Records to come, we did not accept be­ cause we would have had to drop out of school and we chose to finish college.”

In 1967, they recorded an album at the Waluhaje Ball­ room in Atlanta. It has been re­mastered on CD and gives today’s audiences a delightful blast from the past. Songs include instrumentals recorded by The Jays and duets by Janis and Bill. The Joyettes’ selections include a re­make of the Dionne Warwick hit; You’ll Never Get to Heaven if You Break My Heart.

During the interview with the Macon County Tourism

Resource Guide, the ladies performed impromptu and acapella. They still have the vocal range and tight harmony that took them to the brink of stardom.

It took more than talent to go from tiny Tuskegee to the bright lights of big cities. The Joyettes had makeup and hair styling assistance, choreography, wardrobes, travel and lodging logistics, perform­ ances, marketing and man­ agement. They say Dr. Phillips was their fiercest cheerleader. Delois says, “He believed in us and he tried everything he could to make people aware of who we were. We even went to Nassau and we sang down there…and then to go to New York…”

(Story continued on next page)

Catching up with Dr. P. Bertrand Phillips When The Joyettes and The Jays were performing through­ out the United States and in the Caribbean Islands, an enormous amount of planning and preparation had taken place before they hit the stage.

Dr. P. Bertrand Phillips was behind the scenes guiding the w o r k that w as un s een by th e p ublic. A br illiant administrator and strategist, Dr. Phillips focused on the te­ dious details that were critical for the Tuskegee musicians to be serious contenders in the entertainment industry.

He was Dean of Student Affairs, Director of the Tuskegee Institute Community Education program and Professor of Psychology and Education in the 1960’s when the music scene in Tuskegee exploded. He said, “If the venues had been available there in Tuskegee, I believe it would have become another Austin.” (The capital city in Texas, Austin’s music scene flourished in the 1960’s and is now a multi­million dollar industry. Austin bills itself as the Live Music Capital of the World.)

Dr. Phillips fondly remembers what impressed him about The Joyettes. “It was their distinctive voices, their charisma and their spiritual and family underpinnings.”

However, he was not surprised they chose education over entertainment. “No. They were all academically minded and at this particular juncture in our nation’s history, they re­ alized that education was the pathway to take.”

His son, Dale Phillips and daughter, Judy Phillips were both born at John Andrews Hospital on the Tuskegee Institute campus. He explains that he left for personal rea­ sons. “My family and I made the decision in December 1967 to leave Tuskegee to explore other professional opportunities and the President, Dr. Luther Foster announced my plans to the faculty, staff and students in February 1968. This decision was not made lightly or without sadness. It is important to note that the five years that my family and I spent at Tuskegee were five of the most important, eventful and wonderful years of our lives.”

After leaving Tuskegee, he transitioned to business entrepreneurship, providing consultant services “to educational institutions, government agencies, associations, religious and other institutions and small and large businesses. Research and writing are things that I enjoy, and I am blessed to be able to do these things as well as enjoy our five grandchildren and growing family and to continue to enjoy travel opportunities around the world. I am also beginning to write about the Tuskegee Institute Community Education Program (TICEP).”

In 1976, Dr. Phillips and his wife, Judith V. Phillips co­founded Bermultinational Limited, an Organization Development and Management Consulting firm. The couple resides in Silver Spring, Maryland.

(The Joyettes story continued)

It is impossible for The Joyettes and The Jays to reunite.

Michael Gilbert, a member of The Jays, is deceased. Sylvia Thornton (Smith) and Janis Carter (Johnson) also died. Bill Winston, the bandleader for The Jays is now a minister living in Chicago. Abram Brown lives in Arizona. Arthur Lawrence and Jimmy Johnson also live out of state. Bobby Owens still lives in Tuskegee and still plays music. He performs with the jazz band Smoke at the Kellogg Hotel on the Tuskegee University campus.

Talking about his former band, Bobby Owens says, “We had the best of times. Bert Phillips was carrying us into places that we would have never been in, like Town Hall. We were in high cotton in those days. We did the Otis Redding Show at the Apollo. When we hit that first note you could hear ‘Lawd have mercy they got a big sound.’ Bill Winston came out singing and a dude got up and started hollering and fell out of the balcony down on the floor.”

Owens said The Joyettes also hit the right notes. “We thought they were going to make it before we would. They sounded just like the Supremes, Martha and the Vandellas and all those kind of groups. We thought a heck of a lot of those girls. I really appreciate their mothers and fathers following the group. We had them as chaperones everywhere we went.”

IN MACON COUNTY George Washington Carver Arts & Crafts Festival May 6 & 7, 2011 Mother’s Day Weekend Held on the Tuskegee Square (334) 727-6619 Hound Dog Day May 14, 2011 Hillbilly Mall Little Texas community (334) 727-6476 Possum Day May 21, 2011 Franklin Town Hall Family-friendly arts, crafts, food and entertainment All Macon County Day August 12 & 13, 2011 Free & Open to the Public (334) 727.5120 ext. 4 BPA Labor Day Fly-In September 2011 Tuskegee Municipal Airport (Moton Field) (334) 727-6485 Tuskegee University Event’s list may be accessed at www.tuskegee.edu George Washington Carver Museum Tuskegee Airmen National Historic Site

Vera

Joyce

Delois

The surviving Joyettes savor their great memories and memorabilia from the 1960’s. They also still blend their voices in song and lean on each other for support, rocking through life as they did on stage, in perfect harmony.

T uskegee Human and Civil Rights Multicultural Center Tuskegee

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notable people to recreational activities and the great outdoors, you’ll find it all showcased at the visitor center. While you’re there, be sure to check out the gift shop for a great sampling of a variety of items, art, books, souvenirs, and locally-made products.

Before Booker T. T Washington lifted the veil of ignorance, Tuskegee and Macon County were an important part of many historic moments that have made America the country that it is today – Creek Indian War…American Slavery…the Civil War… Reconstruction…Jim Crow Era…World Wars…and Civil Rights.

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By: Karin Hopkins

The Godfather of Old School Music

Lionel Richie and his childhood friend Tom Joyner

G

ladys Knight was performing at the Flamingo Hotel in Las Vegas, when a fan in the audience shouted, “We love you Gladys.” Squinting to look past the bright stage lights into the dark, cavernous seating area, she strained to see the person.

Noted for music that gets better with time, the concert was sold out. Admission cost a pretty penny and fans paid gladly to hear this Grammy award-winning vocalist perform her long list of incredible songs. Only an act of God or an enormously important person could have interrupted this show.

Now back to the shout-out fan. Even though she could not identify him by sight, Gladys Knight still knew who he was. She recognized his voice, called him by name and thanked him for playing her music on his radio program.

She put her show on pause to let the packed house know, just how much she and her peers appreciate Tom Joyner.

Born in Tuskegee, Tom Joyner performed in the 1960’s with a singing group called The DuPonts, which was backed by a band called The Commodores. He reportedly told the Los Angeles Times that he could kick himself for not staying with The Commodores until the group became successful.

"This is a bitter subject," he claimed. Continuing about his days as a budding musician, he added. "I've been friends with Lionel Richie since childhood. We go back to nursery school.

And here I am getting up at three in the morning. Do I regret it?

Here I am going to the bank every Friday and the bank comes to him. 'Got any checks for us today, Mr. Richie?' Don't get me started," he joked.

Joyner’s entertainment career came to an end when he decided that finishing college was more important. In a professional context, he traded the stage for a studio, embarking

on a career in radio that has made him a media mogul. He credits his hometown for the inner fortitude that led to his success. In 2005, he published a book titled “I’m Just a DJ But…It Makes Sense to Me” in which he thanks “the entire town of Tuskegee, Alabama for teaching me that no dream is out of reach.”

In his book, Joyner talks about his first radio job at a station in Montgomery, “before that I had a Saturday show at the radio station in Tuskegee. It was an outgrowth of a protest march I’d participated in back in the days when instead of watching cartoons or Soul Train on Saturday morning, kids like me marched against segregation.”

The protesters were offended that the one radio station in their predominately African American town played only white music.

When the station owner agreed to play black music half a day, one day a week, he asked the crowd if anyone was interested in holding down that time slot. Tom Joyner jumped at the opportunity. It was at this time that he began learning about life and business in a way that would later make him famous and rich.

The music he played at the Tuskegee radio station was automated, requiring production of a mix tape of songs that would play when he pushed buttons and flipped switches. Tom Joyner says, “I decided that I could make a little more money if I made tapes of the music shows I’d formatted and sold them to other automated stations.”

All five of the stations he approached turned him down.

However, many years later he realized his concept was an early version of syndication.

Today, Tom Joyner is the king of urban radio because of his phenomenal syndication reach. “Every day we talk to more than eight million African Americans in more than 120 markets.”

After his first “real” radio job in Montgomery, he moved to several other markets, steadily advancing up the ladder of success. By the early 1980’s, he was a dominant personality on the airwaves in Chicago. He later moved to Dallas to host a morning program. Within a few years, Chicago was calling him back. Instead of picking one city over the other, he chose to work in both places at the same time.

"I got to thinking," Joyner told People Weekly. "Dallas and Chicago are in the same time zone. There was plenty of time between the morning and afternoon shows," he continued. He

looked into travel arrangements, and discovered that between available flights and typical weather patterns, he would likely be able to make both jobs almost 100 percent of the time.

This is when he became known as “The Fly Jock,” a fitting nickname considering his schedule—on the radio in Dallas by 5:30am, sign off at 9:00am, board a plane for Chicago by 10:00am, hit the air in Chicago from 2:00pm until 6:00pm and board a plane headed back to Dallas by 10:00pm. He did this five days a week for eight years.

Joyner also became known as “The Hardest–Working Man in Radio,” another well deserved tag for a man with two shows in two different cities, both occupying first place in the ratings. He attributes his work ethic to Tuskegee and a father who “let me know that a job half done was not acceptable.”

He also knows that often a good business model is rooted in a service mindset. This is something else he perfected in Tuskegee. While attending college, he gathered the crumbs from fried chicken cooked at a Tuskegee restaurant, bagged the crumbs and sold them for 25 cents per bag. “You see, once a child has it in his head that he can earn money by providing a service, it never leaves him.” He has come a long way since those days of selling chicken crumbs but he is still using the same business model and service mindset, though now on a much larger scale.

Working simultaneously in two cities, was an oddity that drew national media coverage, meaning people all over the country knew about The Fly Jock. After quitting the bi-city routine, he took a short break and settled into a slower pace, hosting a weekend countdown show syndicated by the CBS radio network.

Then in 1993, ABC offered Joyner a syndication deal that he could not refuse.

In 1994, The Tom Joyner Morning Show (TJMS) launched with 29-affiliated radio stations airing the program. The TJMS expanded to 62 stations within its first two years. By 1998, the show was in 95 markets.

In 2003, Joyner bought his syndicated program from ABC and consolidated his media and business empire into a new company—REACH Media, Inc., which he controlled.

By 2004, the show was being heard in 115 markets. Also in 2004, Radio One paid $56 million for a majority stake in Tom Joyner’s company.

Tom Joyner and his crew at the ESSENCE Music Festival in New Orleans

A leading voice in black America, Tom Joyner speaks to his audience about deep social and political issues. His format is a blend of social commentary, comedy and mostly old school music with an occasional hip hop tune on the play list. He is a

staunch supporter of nostalgic R&B as well as today’s artists whose style emulates classic R&B grooves.

For years, The Tom Joyner Morning Show broadcast live from every major event in the country—Magic City Classic, ESSENCE Music Festival, the Super Bowl. If an event drew a huge crowd, Tom and his entire production crew would fly into that city and set up for remote transmission.

Not only would they broadcast, they would host an early morning party of their own and draw a packed house. People would begin lining up at 3:00am and earlier to be in place when the doors opened for the 5:00am start time.

This traveling show eventually became the Southwest Airlines Sky Show. The entertainment included such old school performers as Al Green, Chaka Khan, The Ohio Players, Lakeside, Cameo, Stephanie Mills, The Gap Band, The O’Jays and many other old school entertainers. Major corporations would go on stage during these sky shows and give large checks to The Tom Joyner Foundation to assist the foundation in its commitment to Historically Tom with a $60,000 donation from NOKIA to his foundation Black Colleges and Universities (HBCUs). The corporations knew the value in being seen by those in attendance and being mentioned on the air while eight million listeners were tuned in.

A few years ago Joyner dropped the sky shows. However, he continues to provide work for old school artists by booking them to perform at The Tom Joyner Family Reunion and on his annual cruise ship party, The Tom Joyner Fantastic Voyage. Money from the cruise is donated to HBCUs, including Tuskegee University where Joyner earned his undergraduate degree in sociology.

And if anything equals his devotion to old school music, it is his support of African American colleges and universities.

In 2009, Florida A&M University (FAMU) reported raising $1 million during the Tom Joyner Foundation School of the Month program. In 2010, FAMU and Tom Joyner announced creation of the Tom Joyner Online Education (TJOE) program, allowing students to graduate from participating HBCUs after completing classes online.

That entertainment career he flirted with in the 1960’s was not meant to be but he is still a dominant figure in the music industry.

Tom Joyner connects a specific genre of music with an audience that has an appetite for the old school sound. Though this music is now accessible on copycat radio programs, the Internet and iTunes, for a long time Joyner was in a league by himself. During those years, he helped to save old school artists from oblivion.

Through his radio program and various enterprises, Tom Joyner is preserving and perpetuating music first made popular 30 to 50 years ago by great artists including his childhood friend Lionel Richie and the grateful Gladys Knight.

Tom Joyner’s life is the ultimate Party With a Purpose. Who knows where it will end but we know it began in Tuskegee.

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TUSKEGEE’S CONNECTION TO THE

“Shoop Shoop Song”

Tillotson, Juanita Tucker and Rosie “Tootsie” Addison, Rose Kelley (Washington is The Opals Myra not included in this photo

In 1956, when Rose Kelley (Washington) was just 8 years old, her family moved from Creek Stand, Alabama in Macon County to East Chicago, Indiana. Fast­forward to today and her life has made a full circle turn. She is once again living in Macon County, working at RBC Bank in Tuskegee. To the outside world she is the epitome of administrative efficiency. To those who know her well, she is R&B history.

She is in the encyclopedia of Classic Soul as a member of The Opals. During her glory days in the entertainment industry, she rubbed shoulders with Jerry Butler, The Dells, Curtis Mayfield, Gene Chandler “the Duke of Earl” and Major Lance.

Her vocal skills were discovered almost by accident. “I really didn’t know I could sing until my great­uncle heard me sing in church and told my mom and dad, ‘That daughter of yours can really sing’ and they were so in awe, they started coming to church on Children’s Day and they discovered I had a little talent.”

She recalls that her professional singing career began in 1963, when a friend from her church connected her with two other teenaged girls, Myra Tillotson and Rosie “Tootsie” Addison. She said the friend, “heard me sing at church and she knew they were trying to form a group. She asked them if they would mind me joining them, so I met with them and we rehearsed and that was it. When we first got together, a guy by the name of Maurice Rogers was managing us and he came up with the name Opal. Back in the 60’s, it was music… it was good music in the 60’s.”

The Opals were 16 years old when they got started and just like other girl groups of that era, they admired the Supremes. She remembers their breakthrough moment was

By: Noah Hopkins

supremely unglamorous. “We were there at Steve’s Chicken Shack on 25th Avenue in Gary, Indiana and Mickey McGill heard us sing.” He said, “These girls are too young to be in here in this chicken shack.”

Mickey was a big time entertainer, a member of the chart­topping R&B ensemble, The Dells. He introduced the girls to two major music industry insiders, Calvin Carter and Carl Davis. This led to the girls’ participation on a big hit record. They provided background vocals to the “Shoop Shoop Song, It's In His Kiss” recorded by Betty Everett in 1963.

Carl Davis put The Opals with Curtis Mayfield who wrote a song for them titled “You Can’t Hurt Me No More.”

Rose Kelley was lead vocalist. According to published reports, this was one of the first records that joined the writing skills of Curtis with the arranging of Johnny Pate.

Rose talked about the financial aspect of The Opals career. “We made some money but the majority of the money came from backgrounding other artists and we did a lot of that. That’s what we did throughout the Chicagoland area. We backgrounded Gene Chandler, Major Lance, Walter Jackson and of course the ‘Shoop, Shoop’ Song with Betty Davis… not Betty Davis… Lord help me…Betty you talking about me,..Betty Everrett, the “Shoop, Shoop Song, It's In His Kiss” in '63 that was one of our favorites.”

The Opals stayed together for about 10 years.

Nowadays, her former career is a distant memory that she rarely discusses with friends or relatives.

“Well, it’s funny because I really don’t talk that much about it but when they hear about it they question me about it. I tell them I got started young, we went out on the road.

We went all over. I enjoyed doing it but you know how it is with a group of women, some­ times things happen and you just go your separate Myra, Rose and “Tootsie” ways.” However, the idea of a reunion was discussed during the interview with the Macon County Tourism Resource Guide, “We thought about it and we are really trying for 2012 to get together and do something. We had talked about a grand reunion, hopefully we can get that going.”

7th Wonder

7th Wonder on Soul Train with Host Don Cornelius (September 27, 1980): L-R (front) Marvin Patton, Wilbert Cox, Cornelius, Deborah Cox Mathews, Allen Williams and Iulus Chislom; (back) the Oasis Horns Alonzo Bowens and Lloyd Oby. Not shown are Bill Butler, Johnnie Hammon and Jerome Thornton.

By: Lateefah Muhammad

7

th Wonder, initially consisting of six men and one woman, was founded in 1971 by Iulus Chislom, Jr. on keyboards, Sidney Conley on drums/percussions, Marvin Patton on lead guitar/vocals and William Jerome Thornton on bass guitar/background vocals. They brought on additional original members Wilbert Cox, lead vocals/percussions; Deborah Cox, lead vocals/percussions; and Allen Williams, lead vocals/percussions. Another member of the Cox family, Oscar, joined as the original equipment, lighting and sound technician. All were born and raised in Tuskegee, where 7th Wonder continues to base its operations.

Chislom contributed the name “7th Wonder” after a contest to determine the group’s name. Each had performed with other bands in past years, most recently with “The Reflections.” The newly formed band adopted Chislom’s idea and the rest is history.

7th Wonder built upon the idea of linking the name with the seventh wonder of the world, the Great Pyramids of Giza in Egypt. Connecting the pyramids with the Ancient Egyptian civilization and culture – music, dancing and merrymaking – is how 7th Wonder arrived at its style.

“This style became our trademark,” says Marvin Patton. “Our dance routines included many of the innovative Egyptian poses and dance steps. Our music also symbolized some of the Egyptian sounds.”

Over the years, the band made changes in membership—

founding drummer, Conley, left in 1973. His main reason was to complete his education at then-Tuskegee Institute. Jesse Oliver of Tuskegee filled the open position.

That year, the group recorded its first songs: Kris Kristofferson’s “For The Good Times” an original, “Let’s Stop Kidding Ourselves” and another original “Absence Makes The Heart Grown Fonder” on Abet Records of Nashville, Tennessee with Dan Brantley of Selma, Alabama as executive producer.

In 1977, Oliver left the band and Khalifah (John Bell) Hameen of Greenville, Alabama joined 7th Wonder as drummer. Between 1977 and 1979, 7th Wonder recorded its first album, “Words Don’t Say Enough” on Parachute Records, a subsidiary of Casablanca Records. The hit single, “My Love Ain’t Never Been This Strong” charted in the mid-30s and was picked up by Black Radio, Billboard and Cash Box trade magazines.

William (“WG”) Garrison of WG’s Enterprises from Baton Rouge, Louisiana became the group’s executive producer and business manager. Garrison brought Jerry Weaver on board as producer. In 1979, when “Captain Boyz,” a name the members affectionately called Khalifah, left, Weaver brought in Johnnie Hammon of Muscle Shoals, Alabama as drummer.

That same year, they recorded “Climbing Higher” and the group was indeed climbing higher with their charted hit single, “Do It With Your Body.” The album was

co-produced and written by Jerry Weaver, Ronald LaPread (Commodores) and 7th Wonder, again on the Parachutes Records label.

With a move to Cecil Holmes’ Chocolate City Records, another subsidiary of Casablanca Records, 7th Wonder recorded and released a third album, “Thunder,” an elevation from their first two Casablanca distributed albums.

In this 1980 release, the group wrote many of the tunes and also took on some production chores with co-producers Jerry Weaver, Leon Sylvers and Lakeside. “We like to think of it as a sequel. We felt that, in essence, we were giving more music from ourselves for the 80’s” stated the former group leader, Jerome Thornton.

Famous for their Egyptian costumes and mythology, 7th Wonder with Jesse Oliver (1975) In 1983, 7th Wonder won first place in the annual 7th Wonder incorporated Egyptian musical hooks in such cuts as the dance number, “Tilt,” and the funk-rocker, “Busyman.” “Battle of the Bands” contest on Armed Forces Day sponsored Other tunes on the album included a lilting ballad, “All In All” by WHHY (Y-102) Radio in Montgomery, Alabama, winning a country-funk cut, “All The Love I Thought I Had” and the a 4-foot trophy and free studio time. Three major record thunderous first single, “I Enjoy Ya,” an up-tempo song for the companies—RCA MCA and A&M Records, judged the ladies. With the smash hit single, “Tilt,” 7th Wonder gained contest. The radio station deemed the 7th Wonder “the most national attention, including an appearance in 1980 on the talented band [we] ever heard in the battle.” The annual “ Battle of the Bands” contest was the precursor to today’s popular television show, Soul Train.

7th Wonder was one of the South’s hottest touring CityFest Jubilee.

Three original members, Wilbert, Deborah and Oscar, bands for more than 15 years. When they went on the road after releasing “Thunder,” the Oasis Horns, featuring Bill left the group in 1985. 7th Wonder reorganized and continued to perform along the eastern and southern coasts in cities in Butler on trumpet, Lloyd Oby on trombone and Alabama, Florida, Georgia and Doug Alonzo Bowens on saxophone, all Iulus Eaves Louisiana through East Coast Chislom from Louisiana, joined them and Entertainment of Richmond, Virginia, made Tuskegee their home. and Greer Entertainment of After a short stint with the Atlanta, Georgia. group, Bowens left and In 1990, another founding Jimmy McElroy of Phoenix, member and bass player, Arizona joined the horn Jerome, left the group and section. The group performed moved his family to Columbus, with various renowned Georgia. After several temporary artists, including the homebass players, including Darryl town group, the Commodores, Jones, former member of the Mean Teddy Pendergrass, Stephanie Machine with the Commodores, Mills, Rufus, the O’Jays, Al Johnnie Tyrone Stanton of the Commodores, Green, Maze featuring Frankie Hammon Jerome Temple, Michael Sinclair and Beverly, LTD, Brick, SOS, Glen Watson, Doug Eaves of ConFunkShun, War, Kool and the Tuskegee joined 7th Wonder in 2000 as Gang, Whispers, Lakeside and bass player. The Oasis Horns also left Larry Graham and Graham the group and Larry Oates of Muscle Larry Central Station.

Allen Oates Shoals, Alabama was brought in on horns.

At the end of WG’s contract Marvin Williams Patton The breakups, along with false promises by with the group, 7th Wonder wrote, many in the industry, negatively impacted 7th Wonder arranged and produced the single, “She’s My Girl,” on their over the years; however, three diehard original members— label, T-Town Records, in 1983, with assistance from Steve Iulus, Marvin and Allen--have kept the band going. They are Myers of Tuskegee’s WBIL radio.

Throughout the southeast, Black Radio reported this single as completing a variety compact disk, including gospel, reggae, a hit, however, without a major label and with limited light rock and country. They perform every chance they get distribution funds, the wide success of the single was throughout the Southeast, doing “old and new school” sounds.

To book 7th Wonder, call (334) 332-0473 suppressed.

The Tuskegee University Choir Spiritual Music Preservationists W

hen Booker T. Washington created The Tuskegee Quartet in 1884, he planted seeds that would ultimately blossom into a national treasure. The Tuskegee University Choir was created in 1886 and for more than a century it has brought together talented students performing under the auspices of masterful composers and directors. The choir has graced stages near and far, always staying true to Washington’s mandate to sing the African American spirituals.

The current Tuskegee University Choir Director is Dr. Wayne Anthony Barr who has been in the position since 2001. He has travelled internationally with the choir but says some of his best memories have happened close to home. “Like the time we visited an elementary school in Union Springs, the kids are so enthralled.”

Tuskegee University students who are interested in joining must audition and according to Dr. Barr the most essential skill is “the ability to match pitch.” He describes the choir, which now consists of 60 members as, “a body of students who love music. They love to sing.”

In spite of their prior experience or passion for singing,

By: Karin Hopkins

Dr. Barr says spirituals are new to most aspiring choir members. “For them it’s quite a learning experience. A lot of churches today are not singing the spirituals so when they come I guess they expect a lot of gospel. They expect what they’ve done back at home. Then they are exposed to the spirituals, the sacred anthems and the way of singing, this style of singing. I would say it [the choir] is a group of students who love to sing and are serious about the music that they sing, students who have gained an appreciation for this repertoire.”

This aspect of the interview with the Macon County Tourism Resource Guide triggered questions about the difference between spirituals and gospel. Dr. Barr provided historical perspective saying, “Spirituals were created during slavery. Gospel music was created afterwards.

Spirituals were communal. There’s no one person you can point to and say this person created this. The gospel music comes out of that spiritual environment but it’s more of an individual creation. It also involves instruments so the melodies and harmonies are actually influenced by those instruments. Spirituals were not originally harmonized.

They were just melodies that were sung and whatever harmony happened was a matter of coincidence really and a matter of singing.”

Continuing to point out distinctions between the musical genres, Dr. Barr said, “There is no one way to sing it [spirituals]. Each time you sing it it’s different based on the number of people there and the individuals present.

Gospel music is created for a performing group. Spirituals— everyone can sing. Gospel as it has developed has come to distinguish the congregation from the choir.”

Dr. Barr sitting at the Rodgers Digital Pipe Organ

Dr. Barr earned a Doctor of Musical Arts degree from the University of Michigan, where his dissertation topic was The History of the Pipe Organ in Black Churches in the United States. He also earned a Master’s degree in Sacred Music from Southern Methodist University and a second Master’s in Choral Conducting from this same institution. He holds an undergraduate degree from Westminster Choir College.

While he talked about his life including his childhood background, it was easy to understand how he became so attached to spiritual music. “This is what I grew up listening to. It’s what I grew up singing.”

Surprisingly, Dr. Barr is from South America. He says he also heard the indigenous folk songs of his native country, Guyana. “For some reason the spirituals just resonated with me.”

Dr. Barr was a fan of the choir long before he became its director. While living in Michigan he stumbled across a recording of the Tuskegee Institute Choir produced by the former choir director William Dawson, who was also a world-renowned composer and conductor.

During the Dawson Era, the choir performed in New York at Radio City Music Hall, in Washington DC at Constitution Hall and the White House and on many national radio and television programs. Under the leadership of the esteemed William Dawson, prestigious invitations were extended to the Tuskegee University Choir requiring extensive traveling in this country and abroad.

This trend has continued with many performances at national and international venues including at the National Prayer Breakfast in 1994 and in the East Room of the White House in 1997.

“Since I’ve been here, a portion of the choir was able to go to Spain during the Christmas 2009 season to perform a series of concerts there.” Dr. Barr says. He said various factors have prevented the choir from traveling for two years but he is optimistic about the future. “I am hoping that there are various elements being put in place right now so it will be an annual expectation that the choir will go on tour.”

He is planning a trip to New York for a choir performance at Lincoln Center Avery Fisher Hall in March 2012.

National and global travel is special but equally important are the vesper services and campus events that involve the Tuskegee University Choir.

Dr. Barr says “Our annual Christmas concert is the first Sunday evening in December. The Annual Dawson Institute Concert and Lecture is the first Saturday of April in conjunction with our Founder’s Day Weekend. We invite choirs from other HBCUs [Historically Black Colleges and Universities], colleges and universities to join us for that day. We celebrate Dawson and we ask each choir to sing at least one Dawson selection and not just the spirituals but also other sacred and folk music.”

Following a long line of choir directors, Dr. Barr is now the guardian of this precious legacy. It is rewarding to him in many ways especially when students become inspired.

He says several former members are either pursuing or engaged in work that is a spinoff from their time with the choir. He cites as an example, an opera study program in Italy founded by an alumna who returned to the campus at Dr. Barr’s invitation. During that first visit she chose some students for her program.

“Now this is an annual thing for her to come and hear students for possible selection.

They get a chance to go and study with an established opera singer and [opera] coach.”

The essence of the spirituals has a soul-stirring visual adaptation in the Tuskegee University Chapel.

A magnificent display of stained glass windows covers a large “The Singing Windows” section of wall space in the chapel’s vestibule. Called the Singing Windows, the beautiful artwork represents 11 spiritual songs that were favorites of Booker T. Washington and his successor Robert R. Moton.

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Tuskegee Repertory Theatre, Inc. Celebrates 20 Years Publisher’s Note: The State of Alabama declared 2011 the Year of Music. This coincides with the milestone 20th anniversary of the Tuskegee Repertory Theatre (TRT). For this reason we are publishing an edited version of an essay written by Dyann Robinson about her performing arts sanctuary. For two decades, the TRT has entertained and enlightened audiences through inspiring stories stoked by dance and music.

I loved Tuskegee and I really did not want to leave. But I also wanted to be a ballet dancer and since my father told me I had to go to college, I had to find a college where I could be a dance major; consequently I became the first African American to graduate as a dance major from Butler University in Indianapolis, Indiana. Only an environment like I had experienced in Tuskegee could have made the decision to become a ballet dancer by me, a little Black girl was encouraged by parents who felt that if my sister in Alabama in the early 60’s possible. I was from a place Clintonia, who wanted to be a fashion designer, and I, who where, even though I was Black, anything and everything wanted to be a ballet dancer, had an education, and the will seemed possible. to achieve, we could do anything. This was the prevailing At the beginning of my career, I danced briefly in New sentiment here in our little historical York, then taught at Howard University Tuskegee cocoon of Black achievement, where I began creating my own performwhere I lived growing up. ing opportunities traveling with dancer The Tuskegee that I grew up in was Mike Malone as the Concert Ballet Duo peopled and supported by a vibrant and with my Chamber Dance Group. community of men and women I moved from Washington to dance as determined to build a positive place for a member of choreographer Billy themselves in a segregated world. We had Wilson’s dance company in Boston but it the third largest VA hospital in the was actually in 1972 that my dream of country and Tuskegee Institute that was creating a theatre company in Tuskegee an integral part of the Negro community. was born, the same year that my Those two entities were the basis for job hometown achieved another historic first opportunities on all levels in the Negro by electing my classmate, Johnny Ford, community because everybody who the city’s first African American mayor. worked for them lived in the community.

In that year, I was embarking on a As young people we would joke that if journey that I thought would mark the you came from Tuskegee you had to go to beginning of my dancing career in Dyann Robinson college or learn some skill or special trade, Europe, but actually was the beginning of because we didn’t have any factories to work in. We were my journey back home to the theatrical career for which I surrounded by professional people: teachers, doctors, was destined. That year, I crossed the seas, to join an lawyers, skilled tradesmen, plumbers, electricians, printers, internationally famous ballet company based in Brussels, cooks, nurses, all trained at or working for Tuskegee Institute Belgium called The Ballet of the Twentieth Century, directed or the VA. by the French choreographer, Maurice Bejart. I wanted to We had private business men and women who owned perform as a classical ballet dancer, and the opportunities for construction businesses, grocery and retail stores, cleaners, that in America were virtually non-existent for me on the service stations etc. all in the Negro community. We had civil level that I envisioned. rights leaders like Gomillion and Mitchell and organizations My experience with Bejart’s hugely popular company was like the Tuskegee Civic Association. Mr. Aubrey Page made wonderful. We danced in Europe, in Israel and even all kinds of theatre come to life at the VA and in the performed at Madison Square Garden in New York City. But community. All kinds of performing artists and groups came after a year I decided to leave the company. For one thing I to the campus to perform in Logan Hall, where we could also did not want to become an artist living as an American go swimming in the summer time. Tuskegee Institute High expatriate in Europe, but most importantly because, as I told School played our games in the institute stadium. We were Mr. Bejart, I did not want to be a member of his company; I the proud Baby Tigers. wanted to be “him.”

I

I too wanted to have a company that I could use to create dance theatre and also I wanted to work with other African American artists. I came back to America to work with my former mentor, dancer/choreographer Billy Wilson, a brilliant African American dancer who had been a lead dancer with the National Ballet of Holland but who also had returned home to dance in America. I went with him when he left Elma Lewis’s Dance Company of the National Center of African American Artists to form the Dance Theatre of Boston and when he was engaged as choreographer for what became the Broadway hit “Bubbling Brown Sugar,” I went with him as his assistant and as a dancer in the original cast of the show, which toured for 10 months and played Broadway for two and a half years.

When the Broadway show closed I began working with Billy Wilson restaging the show for tours in the US and in Europe but home was calling me. I still wanted my own company and I wanted it in my hometown. I started asking my parents to look out for a place where I could teach dance. I thought that maybe one of the old historical houses in downtown Tuskegee could be converted into a school. I knew that would be wonderful because now I felt, we had reached a new pinnacle: we had an African American mayor. Not only that, he was my classmate, Johnny Ford who when I was visiting home one Christmas, at a Tuskegee Institute High School Class of 1960 Christmas party, encouraged me to come on home to bring my talents and experience in theatre to our Tuskegee community. After I returned to New York, he suggested that I come and create a summer dance program within the City of Tuskegee Recreation Department, then under the direction of Mrs. Marty Swan.

Well, the rest is history. In 1980, I came home and created a dance program that was incorporated into the City of Tuskegee Department of Recreation and later evolved into a full- fledged Department of Cultural Affairs, which flourished for nine years. Within the department, I developed the Tuskegee City Dance Theatre, where I trained dancers whom I ultimately featured in the City of Tuskegee’s production, (at the Alabama Shakespeare Festival in Montgomery), of “Bubbling Brown Sugar,” which I staged exactly as it had been staged on Broadway, but with a bigger cast and a larger orchestra. We broke the box office record for the new ASF and we were the first African American show ever presented there. The dancers, singers, actors and musicians were all from Tuskegee or trained for the show here in Tuskegee. I knew then that with the proper support, we could make theatre here in Tuskegee that could rival theatre produced anywhere.

Unfortunately, that was not to be at the moment. The city of Tuskegee could no longer afford the Department of Cultural Affairs and it was closed. The director of the Theatre Department at Auburn University, Lois Garren, had

loaned us lights for our Tuskegee production of “Brown Sugar” in the new complex and she came to see what we were doing, and subsequently asked Mayor Ford if she could borrow me to teach a dance class in her department.

When our Department of Cultural Affairs Department was closed, she asked me to come be a full time professor at Auburn, and I did.

I began a career there as an assistant professor and then an associate professor, that included my creation (for my majority Caucasian students) of at least seven original dance drama productions and one full length dramatic play (all exploring the cultural legacy of the Black peoples of the world) and culminated in my being appointed the first scholar in residence in the Department of Theatre. But my dream to create my own company in Tuskegee had not died.

Tuskegee Repertory Theatre In 1991, while still teaching at Auburn University, I founded Tuskegee Repertory Theatre, Inc. and began searching for a place for our new company to call home. In 1996, the downtown Post Office came up for auction. With the encouragement of friends and financial support from my mother Jessie Robinson and my deceased father Clinton Robinson, I bid on the property, to my shock, was the successful bidder. I named it the Jessie Clinton Arts Centre in honor of my parents, who had made my life in the arts possible, and declared it the home of the Tuskegee Repertory Theatre, Inc. Company and School. In 2005, I retired from Auburn so that Tuskegee Repertory Theatre could have my full focus.

The Tuskegee Repertory Theatre and The Jessie Clinton Arts Centre is located at 201 South Main Street in Tuskegee. For more information, visit the TRT Web site at http://www.tuskegeerep.com, call (334) 7276046, 1 (866) TRTart9 or send e-mails to dyanrb@bellsouth.net.

Ronald McDowell

R

onald McDowell is a gifted artist whose paintings and sculptures often convey a lifelike quality. His work is collected by art lovers from all walks of life including many celebrities. Cities and towns also commission him to produce public art.

He created a life-size bronze statue of Eddie Kendrick flanked by the other members of the legendary Temptations, which stands in downtown Birmingham. The group appears to be performing the smooth choreography that matched so well with their Motown classics.

McDowell succeeded at honoring Kendrick, a Birmingham native in a manner that celebrated the musician’s spirit and talent.

McDowell also artistically captured Michael Jackson and McDowell’s artwork is on the cover of Jackson’s greatest selling album “Thriller.” He painted a collage of several iconic historical figures, connecting all to President Barack Obama.

This prolific artist says his masterpieces are divinely inspired. “I honor the gift God gave me," McDowell said. "This isn't about me... I'm [being used] to tell a story of a time, a place and a people." Ronald McDowell

An Artistic Genius

June Fountain Designing Woman

J

une Fountain can add a burst of color and sparkle to any woman’s clothing. She is a jewelry designer who specializes in clever and classy pieces.

June has a vast selection of jewelry, all one of a kind. She taught herself the art of jewelry making. It was therapy during a tough time in her life.

Her husband Millage H. Fountain had dreamed of moving to Macon County for their retirement and living a serene life. In 2002, as they were preparing to relocate from Atlanta, he was diagnosed with cancer. While they fought for his survival, the disease often sapped his strength. This is when she began making jewelry. In 2005, her husband died.

What had been therapy is now a business. June Fountain established Touch of Crystal to sell jewelry to her ever-expanding client base.

Even though tragic circumstances led her to unleash her creative flair, it was a direction she had been pointed towards her entire life. “My mother always encouraged her

daughters to be creative and to know how to do several things well. Her reasoning was that she didn't want us to be totally dependent on a job for all of our lives. Each of my sisters complemented their lives with crafts and other interest.

I didn't have the interest or desire to be creative until I was faced with the possibility of losing my soul mate. The days became very long. While accompanying him to his chemo treatments, I needed something to keep me occupied.

I started off making just a necklace. Before long, I fell in love with the brilliance of crystals and the beauty of gemstones.

Before long I was creating stylish gemstone and crystal, and collecting vintage jewelry. It’s jewelry that can be worn throughout the year and passed on to future generations.”

Visit touchofcrystal.net to see June Fountain’s jewelry.

I

n the beginning it was three brothers singing acapella in church, then their mother bought them a guitar. “This was God’s gift,” said Christopher, one of the three Clark Brothers (he plays lead guitar). “We started fumbling around with it and were able to play for ourselves.” Victor, another one of the brothers plays drums and the third brother Anthony plays bass and they all sing.

The Clark Brothers started singing when Christopher was about 5 years old at church, family and community functions. They got to a point where they wanted to start their own group. “We had time to practice at home” Christopher said, “because our mother was the minister of music and played piano at our church. And before my father passed, he sang with a local group here in Tuskegee called the Pilgrim Travelers.”

The brothers picked up a lot from their parents. They went to their rehearsals and would even sit in but they wanted to do their own thing. They wanted their own sound so they started adding members to the group. Their biggest problem was transportation and equipment, a problem that many people face when starting a group.

Even though the group has been together since 1982, “We are a work in progress” says Chris, “We listen to different things that we did years ago you know and we say, is that us? We love how the music has matured. Our voices have matured. The message has matured. Settling down at a different level spiritually and everything takes on a different meaning because you have been through something.”

With gospel music like anything else, there is a business end but there is also a spiritual end when dealing with promoters. They say they have met people from all walks of life; some are in it for the right reason and some are questionable. Chris said, “You go to some venues and may not get what’s promised but you know, God has always kept us because we have never been in a situation where we couldn’t get back home because God has always provided for us to take care of our own.”

Marketing and promotions are critical to musicians and Chris says, “The best promoters we have are ourselves. We promote a lot on the Internet, but our live

The Clark Brothers performing at the 2009 All Macon County Day Celebration in Tuskegee

performances sells us more than anything.” The Clark Brothers have performed in Windsor, Ontario in Canada for Independence Day, The Bay Fest in Mobile, at Disney World in Orlando, in New Orleans and Baton Rouge as well as at events and venues in Macon County.

The Clark Brothers deliver a powerful performance with vocalists backed by a full band consisting of guitars, bass, keyboards and drums. During the interview with the Macon County Tourism Resource Guide, Chris talked about the close bond that has held the group together. “We have a brotherhood, we have been around so long even though a lot of the guys are not brothers we still have that chemistry. I think that’s why we have been around so long.”

Check out the Clark Brothers Web site: www.clarkbrothers@cerecords.com

Where to Worship in Macon County Antioch Baptist Church 1220 County Rd 5...........334-727-5824

Friendship Baptist Church Brown St...........................334-727-3455

Mount Olive Missionary Baptist Church 33800 County Rd 2 Shrtr..334-727-2439

Apostolic Faith Mission Inc 3820 Washington Av........334-727-2631

God House Of Prayer 408 S Elm St...................334-724-9961

Mt Pleasant Baptist Church Highway 26......................334-727-5383

Bethel Baptist Church 802 Bethel St Tskgee.......334-727-7961

Greater New Life Church, Inc. 1315 Old Montgomery Rd.......334-724-0617

Nebraska Missionary Church Hardaway........................334-727-4603

Bradford’s Chapel UMC 2091 County Rd 29.........334-727-6333

Greater St. Mark Missionary Bpt Church 3403 W MLK. Hwy...........334-727-1780

New Elam Missionary Baptist Church 1707 County Rd 48.........334-724-9907

Butler Chapel AME Zion Church 1002 N Church St Tskgee334-727-3550

Greater White Church 35779 Cnty Rd 2 Shorter..334-725-0091

New Hope Baptist Church 1903 Chappie James Dr...334-727-0613

Chehaw AME Zion Church Highway 199....................334-727-9159

Greenwood Missionary Baptist Church 1510 Washington Av........334-727-0871

New Hope Baptist Church 1 1585 Banks McDade Rd..334-727-5004

Church Of Christ 1702 S. Main St...............334-727-7200

Jehovah’s Witnesses Tuskegee AL 1410 Notasulga Hwy........334-727-3152

New Mount Pleasant Baptist Church 426 County Rd13 Shrtr.....334-727-9026

Daniel Baptist Church 1201 Gautier St..............334-727-1900

Jubilee Christian Fellowship Intl Midway............................334-727-5833

New Life Church of God In Christ 1205 E MLK Hwy Tskgee.334-727-5011

Divine Bethel Missionary Baptist Church Central Milstead Rd Shrtr.334-727-1317

Macedonia Baptist Church 1260 County Rd 10 Tskg..334-727-6468

Pine Grove Baptist Church 7936 County Rd 40.........334-724-0020

Divine Inspirational Gospel Church 4771 Hwy 199 Tskgee......334-727-9846

Mary Magdalene Baptist Church 4294 Cross Keys Rd Shrt.334-727-2923

Pit Stop People in Transition 302 S. Elm St Tuskegee...334-727-6940

Eternal Life Temple of God 89 West Ave Tuskegee....334-725-1555

Masjid Ash-Shura 906 Franklin Rd, Tuskegee, AL 36088

Pleasant Springs Baptist Church Pleasant Springs Dr.........334-727-1166

Faith Ministries PAW 2501 Holy Ghost Circle...334-727-1491

Mt Calvary Missionary Christian Church 1504 Bruce St..................334-727-1006

Providence Missionary Baptist Church Society Hill Rd.................334-727-2063

Fort Hull Community Church 4774 County Rd 45.........334-727-1287

Mt Nebo Baptist Church 7677 US Hwy 29S Tskge..334-727-5113

Rising Star Baptist Church 2603 County Rd 53..........334-724-6600

Franklin Church 2700 Cnty Rd 27 Tskgee..334-727-4411

Mt Olive Missionary Christian Church 410 Cedar St Tskgee........334-727-3080

Rock Of Ages Baptist Church 3004 County Rd 27.........334-727-4179

2011 Macon County Alabama Tourism Resource Guide

Where to Worship in Macon County Saint John AME Zion Church 1406 Clark Av Tuskegee..334-727-0970

St Paul’s AME Zion Church 18716 US Hy 80 W Shrtr....334-727-2967

Shady Grove Missionary Baptist Church Shady Grove Rd..............334-727-4477

St Paul Baptist Church Society Hill Rd...................334-724-9467

Solomon Chapel AME Zion Church 4214 MLK Jr Hwy Tskgee334-727-2308

Sweet Canaan 6067 US Hwy 80W Tskge..334-727-5795

Springhill Baptist Church Morgan Russell Rd......334-727-1725

Sweet Gum AME Zion Church 560 Old Montg Hwy Shrtr...334-727-0680

St Andrews Episcopal Churc 701 W Montgomery Rd.....334-727-3210

Sweet Pilgrim Baptist Church Crossroads........................334-727-7634

St Paul’s AME Zion Church 18716 US Hy 80 W Shrtr....334-727-2967

Tabernacle Missionary Baptist Church 1325 County Rd 14...........334-724-9396

St Paul Baptist Church Society Hill Rd..................334-724-9467

Tuskegee AOH Church of God 1701 Tolbert Cir Tskgee.....334-727-9069

Sweet Canaan 6067 US Hwy 80W Tskge..334-727-5795

Tuskegee Christian Center 711 W MLK Hwy................334-725-1700

Sweet Gum AME Zion Church 560 Old Mont Hwy Shrtr....334-727-0680

Tuskegee Islamic Community 1103 South Main St., Tuskegee, AL 36088

Sweet Pilgrim Baptist Church Crossroads.......................334-727-7634

Tuskegee Seventh Day Adventist Church 377 Lennard Av.................334-727-7198

Tabernacle Missionary Baptist Church 1325 County Rd 14..........334-724-9396

Washington Chapel AME Church 2508 Old Montgomery Rd.334-727-4821

Tuskegee AOH Church of God 1701 Tolbert Cir Tskgee.....334-727-9069

Westminster Presbyterian Church 1806 Franklin Rd Tskgee..334-727-4994

Community Tourism Network, Inc.

TOURISM DEVELOPMENT IS OUR GAME We Help Small Towns and Cities Identify and Profit from their Tourism Assets

WHAT WE DO Develop/Produce New Festivals Design Logo for Event Identify Sponsors Book Artists for Event Identify Food/Craft Vendors Develop Logistical Plans Identify Best Venue for Event Design Promotional Cards Design & Publish Visitor Guides Media Relations (TV, Radio, Print) Enhance Promotions of Historic and Recreational Assets

Tuskegee Christian Center 711 W MLK Hwy................334-725-1700 Tuskegee Islamic Community 1103 South Main St., Tuskegee, AL 36088 Tuskegee Seventh Day Adventist Church 377 Lennard Av.................334-727-7198 Washington Chapel AME Church 2508 Old Montgomery Rd..334-727-4821 Westminster Presbyterian Church 1806 Franklin Rd Tskge....334-727-4994 St Andrews Episcopal Church 701 W Montgomery Rd.....334-727-3210 2011 Macon County Alabama Tourism Resource Guide

CALL 334.725.8496 or 205.567.6397 tourismresource@gmail.com Community Tourism Network, Inc.

T

HE HILLBILLY MALL is a unique, interesting combination of antique store, flea market and art gallery all wrapped in one.

Owned by “Big John” and Carol Richardson, THE HILLBILLY MALL is stocked from floor to ceiling with woodcrafts and collectibles. Many of these items are one of a kind.

The couple work together run ning the business and also creating stunning artwork. Big John’s specialty is woodcarving, wooden sign making and creating other customized items that are made of wood. Carol adds the finishing touch with her delicate but beautiful paintings of flowers and birds that look stunningly life like.

The Richardson’s long-

range plans for THE HILLBILLY MALL, include an artist colony with 20 to 30 small buildings all made out of recycled material, each a different shape with different artists demonstrating their talents, even a blacksmith. They expect

the concept to attract tourists and locals including school children with everyone learning about how things were done in the past. Also, they plan to have a general store with the look and feel of yesteryear, selling things folks once bought at 1950’s era country stores such as; bologna and cheese, potted meat, sow’s meat and twenty-five cents Coca-Cola.

Big John says, “We are not going to make a lot of profit, it’s just gonna’ be a calling card to help attract people.” Another dream is to use the property for a festival like the annual “Syrup Soppin Day” in nearby Loachapoka, a small community that borders Macon County.

During the interview with the Macon County Tourism Resource Guide, Big John explained how THE HILLBILLY MALL got its name. “Well, we toyed over Rusty Nail, my wife wanted something…when people come…because we sell a lot of old stuff, we toyed and we toyed and one night I went to North Carolina and there was a place up there that was called the Hillbilly Mall, so in my mind I was thinking that the Hillbilly Mall would pull folks off of the Interstate a little bit more than a name like the Rusty Nail. So really, that’s how I came about the Hillbilly Mall and I am a little bit Hillbilly too even though I live in the South, you know, I’ve got a bloodhound that’s

gonna’ be getting married May 14th and so, you don’t get more hillbilly than that.”

Fish sculpture at the Hillbilly Mall

Big John said he has been in woodworking for more than 30 years. However, during an interview a while back at a trade show, his 94-year old mother had a different time frame. “Well, ya know, he built the house he was born in.”

The Hillbilly Mall is located at 8870 U.S. Highway 80 East in rural Tuskegee – Hours Friday and Saturday 10am to 5pm and Sunday 1pm to 5pm. (334) 727-6476

E C O N O M I C D E VE L O P M E N T A U T H O R I T Y

Teamwork that is Bringing the World to Macon County

Macon County: The New Diamond of the Interstate 85 Corridor Location, Location, Location: Five Exit Points directly on I-85 over 40,000 vehicles per day Spine of US Hwy 80 through Macon County - over 6,000 vehicles per day Situated exactly midway between Kia and Hyundai for suppliers Nestled just minutes away from Auburn-Opelika and Montgomery for commuters Atlanta - Columbus – Birmingham markets, 2 hours drive or less

Cutting Edge Research: Tuskegee University and Dynamic New Visions Auburn University’s E.V. Smith Agricultural Experiment Station Tuskegee Cooperative Extension Tuskegee Veteran’s Administration Schools of Biomedical Ethics, Nursing and Public Health

Manufacturing Excellence: Halla Climate Control Systems (Hyundai, Kia and Ford) Three Industrial Parks at Tuskegee, Notasulga & Shorter New Korean Partners Coming Soon

Airport Access: Moton Field 5,038 feet of lighted runway on I-85 Golden Aviation 24 hour full-service Fixed Based Operator Enterprise Rental Car (on site)

Tourism and Recreation Abound: Tuskegee Airmen’s Museum George Washington Carver Museum VictoryLand Tuskegee National Forest 13,000 acres Tuskegee Human & Civil Rights Multi-Cultural Center U.S. Park Service’s Tuskegee Institute Historical Site Camp Watts Civil War Historical Site Hunting and Fishing (Year Round) DISCOVER THE REAL MACON COUNTY, ALABAMA TODAY! For More Information contact Joe Turnham 334.444.2672 or joeturnham@aol.com

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Karin Hopkins Managing Partner 301 South Main Street Tuskegee, AL 36083 karin@renaissanceagency.com www.renaissanceagency.com

12:00 AM

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203 West Lee St. • Tuskegee, AL 36083 • 334-727-6880 NOW OFFERINg THE FOLLOWINg SERvICES:

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203 West Lee Street Tuskegee, Alabama 36083 334-727-7636 Hours of Operations M-F: 9:00am to 6:00pm

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