Paducah Life Magazine - March / April 2020

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contents WKCTC Archivist Saves History

march/april 2020 ★ from the editor page 4 ★ last word

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LIVE in Paducah: It’s Music to Our Ears

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LIFE with Loretta and Chris Perry

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PBS Documentary on Country Music

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The Carson Center is Paducah’s Crown Jewel

31

Big Entertainment at the Big E

37

The Musical Legacy of Kaintuck Territory

42

On the Road with the Chitlin’ Circuit

47

Kelsey Walden Signs with John Prine

50

Lighting the Way with Bobby Grey

54

A Look Back at LIFE in Paducah

63

Equestrians Grace Burch and Cate Kupper

69

The MSU Occupational Therapy Paducah Program

81

New Poetry Book Set to Be a Classic

82

The Art of Abandonment

15

page 84

Loretta Lynn Still Reigns as Queen of Country Music

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Diggin’ the Dippin Dots Visit us at paducahlife.com ★

2 • PADUCAH LIFE

SEE AND HEAR MORE OF THE FEATURES IN THIS ISSUE ON

VOLUME 30, EDITION 2 executive editor/ P U B L I S H E R Darlene M. Mazzone

associate E D I TO R / editorial P H OTO G R A P H Y J.T. Crawford

art D I R E C TO R Scott McWilliams

associate art D I R E C TO R Allison Wicker

marketing M A NAG E R Rachel Curry

cover P H OTO G R A P H Y Courtesy Loretta Lynn Enterprises

on the C OV E R Loretta Lynn

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VER THE PAST SEVERAL YEARS, I’ve had the pleasure of seeing the band Dead & Company, an incarnation of the Grateful Dead, on their summer tours. At the top of my wishlist for every show is the song Terrapin Station. Therein, you’ll find these lyrics:

Inspiration, move me brightly. Light the song with sense and color—hold away despair.

These lines crystalize at the apex of the song. There, we reach the full emotion of a tale about the poetic musings of a storyteller who has been paid to weave his magic for a while, transfixing his audience with his prowess to impart lifechanging stories. This is where, without fail, a roar goes up from the gathered throng, many shedding tears of joy.

The lyrics parallel the experiences of audiences who band together to receive the mystifying encounters that can only come from live music. It’s inexplicable—the melding JT and his wife Wendy, attend a Dead & of lyrics and melody, the vulnerability of an in-moment Company concert in Charlotte, NC. performance, and the longings of the soul to be touched— they oft merge into magic moments.

Paducah craves such opportunities. We are a performing arts city. From those who share their souls on small stages and in dimmed bars and clubs to those who are just passing through, pausing momentarily to break us from our daily mold, we deeply sense the value of song and its impact. This past summer, we brought you stories of local musicians who give our city a musical name. In this edition, we examine just a few of the superstars who have visited us.

We were surprised by some of them and think you will be too.

And while PADUCAH LIFE Magazine is not musical in nature, we hope you will hear within our pages the song of our city. LIFE here is a symphony, each of us composing tunes that meld into one. I hear it. And within these pages, our goal is to arrange each note in a way that flows and conveys the emotion of who we are. Many times, as I sit to type, I close my eyes, and I let those words wash over me again: Inspiration, move me brightly.

J. T. Crawford jt@paducahlife.com

MA R C H/ A PR I L 2020 • 5

★

PADUCAH M

USIC IS, PERHAPS, THE MOST powerful of all the transformative forces bestowed upon humankind. It has the potential to break barriers, soften hearts, empower movements, and bring people together.

And, even in the age of nearly limitless access to recorded music, experiencing music live remains the penultimate path to those cathartic, goose-bump moments.

Paducah has always been favored with an evergrowing and diverse population of musicians who play the bars, clubs, and restaurants, crafting their own, Kentucky sound for supportive fans. We have also been audience to a host of legends who have stopped in our area to share their art.

Ike Tuner once clonked a local man with the head of his guitar at the Civic Center. Jerry Lee Lewis set fire to a piano in Marshall County. Cab Calloway and Duke Ellington wowed crowds at a skating rink on Kentucky Avenue that once a week became a concert venue.

James Brown shared his new song “Papa’s Got a Brand New Bag” to a crowd under the lights at Brooks

6 • PADUCAH LIFE

Stadium. Billy Ray Cyrus broke big with “Achy Breaky Heart” not long after playing a Halloween show at the Time Out Lounge in the Executive Inn. Loretta Lynn, who has visited Paducah for more than 50 years, holds the city fondly in her memory.

Last year, one of her personal assistants, Chris Perry, a Paducah native, took a Paducah Life Magazine back to Loretta. As they flipped through it (yeah, that gives us goosebumps), she shared about going to Stacey’s Restaurant and Lounge, the Executive Inn, and eating Starnes BBQ. She loved her time here and wants to let Paducah know.

In this edition, we share Chris’s story of becoming not only Loretta’s assistant but a part of her family.

We also explore her legendary status as the reigning Queen of Country music, a title that doesn’t change her simple, Kentucky charm. We take a look back at Paducah and this region’s place among a list of notable artists who visited to share their music. Each one left a special mark upon our history. And, thanks to venues such as The Carson Center, there are more to come. Join us in the crowd, and get ready for some music, LIVE IN PADUCAH!

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Life WHEN CHRIS PERRY LEFT PADUCAH TO FOLLOW HIS PASSION FOR COUNTRY MUSIC IN NASHVILLE, HE NEVER IMAGINED HIS PATH WOULD LEAD HIM TO ONE OF THE BIGGEST LEGENDS IN MUSIC HISTORY. NOW, HE’S MORE THAN AN ASSISTANT FOR THE QUEEN OF COUNTRY MUSIC—HE’S ONE OF THE FAMILY.

★

I

by J.T. C RAWFORD

T WAS A JOB INTERVIEW LIKE NO OTHER. Chris Perry stood stoically on the porch of the plantation house, flanked by two imposing golden lions whose cement eyes cast a piercing gaze across the sprawling lawn and beyond. Chris, whose stature felt increasingly diminutive, never imagined that when he came to Nashville his path would lead him to this house. He felt dwarfed—overshadowed—not only by this grand home but also by the legend who resided therein.

Chris’s palms began to sweat as the front door swung open and he was ushered inside. He rounded a couple of corners behind his guide before coming into the expanse of the living room. “And there she was,” says Chris, “sitting on the couch.

Loretta Lynn.” Chris froze. Loretta looked him up and down.

The pause seemed to last an eternity. “So,” said Loretta.

“You’re from Kentucky, huh?”

MARCH/APRIL 2020

9 MA R C H/ A PR I L 2020 • 9

Not many years earlier, when Chris graduated from Reidland High School in Paducah, he decided he wanted to be close to the country music he loved. So he moved to Nashville. “I have a love and passion for the music, so I started at the Country Music Hall of Fame,” he says. Chris helped curate exhibits involving artists’ clothing, cleaning and displaying them throughout the museum. “I’ve worked alongside people like Blake Shelton in the past, and Alan Jackson. I met Patsy, Loretta Lynn’s daughter. She’d brought some of Loretta’s gowns. She said, ‘You’d be really good with my mom. Why don’t you come out to the ranch and meet mom?’ I was floored—meeting the Queen of Country Music.”

When the moment came, Chris already had an in. He was from Loretta’s home state. “That started that relationship right off the bat. She knew all about Paducah,” Chris says.

Chris’s easy-going demeanor and home-state charm quickly won over Loretta, and she offered him a job. The position required him to move to Hurricane Mills west of Nashville and just south of Land Between the Lakes.

Even though Chris was hired to help Loretta, she immediately started helping him. “Moving to Nashville,” he says, “everything is pricey. I didn’t have anything when I went to Hurricane Mills. She paid for everything—a bed, a couch— everything. She was like, ‘We’ll take care of you.’”

Loretta’s current home sits on her ranch just behind the original plantation style house she used to live in. After her husband, known as Doolittle, experiLoretta’s home and ranch encompasses the old town of Hurricane Mills just south of Land enced mobility issues in his later years, the couple built the simple, one-level Between the Lakes. There, you'll find a worldhome on the property. The ranch houses several museums, and guests can even class museum dedicated to her life and career, and you can take tours of her plantation home. tour her plantation house, which is surprisingly quaint, cozy, and downright country. On the property, there is a campground, cabin rentals, and events such as chuckwagon races, the Tennessee TrailJam Jeep Trail Ride, concerts, and motocross racing. Chris splits his time between working with Patsy, Loretta’s daughter, at Loretta Lynn Enterprises in Nashville and the ranch. He’s also helped manage Loretta’s wardrobe, especially for appearances and tours.

Chris describes a typical day for Loretta, which oftentimes involves quite a bit of cooking. She loves to make cat head biscuits (so named due to their size being about that of a cat’s head) or frying catfish. She may want to watch some TV—maybe some football. She likes to go outside and tend to her flowers or feed some critters. But given the chance, Loretta can often be found with guitar in hand, writing songs.

Chris says she has enough material on hand for more albums.

“I was in awe for a long time. It’s just like a grandma kind of thing

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MA R C H/ A P RI L 2020 • 11

now,” adds Chris who loves her sense of humor. “She was in the living room, and I was in the kitchen off to the side, and she said, ‘Where’d Chris go?’ Then she stopped for a second and said ‘I just made a funny. ChrisGo. She said, ‘That’s your nickname. CRISCO! Of course in the 80s, she made commercials for Crisco. She’s a hoot. A lot of fun.”

Chris remains impressed by Loretta’s small town, homespun outlook on life. “She’s an amazing woman.

For Christmas, I got a signed Bible. Anyone who hands you a Bible and personally signs it, buys your furniture, and treats you like family—that’s why I stuck around. She wants people to feel at home.” And “home” springs from her Kentucky values. She still loves her home state and Paducah.

One memory Loretta mentioned is that of Stacy’s restaurant and lounge, a popular eatery and venue for musicians once located at 13th and Broadway. After a show at the Executive Inn one night, her assistant at the time arranged for her to be whisked away for dinner there. “I loved Stacy’s,” says Loretta. “And I’ve always loved Paducah. I had so much fun performing there, and the people are so friendly. I can remember doing some great shows at the Executive Inn as a solo act and with Conway Twitty. And coming back to The Carson Center has brought things full circle. It’s a beautiful facility. It’s cities like Paducah that have meant so much to me over the years. And of course, I am happy to have a Paducah boy like Chris to work alongside me.”

And there’s one constant in Loretta’s life when it comes to Paducah.

“Every time I am there,” she says, “I remember that song, ‘Paducah.’ It just makes me want to sing it. ‘Paducah, Paducah, if you wanna you can rhyme it with bazooka. But you can't pooh-pooh Paducah. That's another name for paradise.’ Now that’s cute!”

"I’ve been told to take Starnes Barbecue back,” adds Chris. "And she loved the Executive Inn.” Loretta can't remember how many times she’d been to Paducah, but her visits here span about a 50-year period. She even played a rodeo in Calvert City and at the Calloway County fair early in her career. “And in 2016 she played the Carson Center and loved it.” Loretta maintains a fondness for our area. Now, she’s able to keep up with news of Paducah via PADUCAH LIFE Magazine!

“I have to pinch myself sometimes when I realize who she really is and what she’s done,” he says. She’s a recipient of the Presidential Medal of Freedom. She’s a member of the Grand Ole Opry. She’s a Kennedy Center honoree. And she’s traveled the world, bringing her music to millions of adoring fans. Sometimes Chris gives the public tours of Loretta’s plantation house where he stops and pauses for just a moment as he looks up the steps to the porch and the front door beyond. He can’t help but smile as he recalls when he, as such a young man, came to the ranch for the first time to meet Loretta. Little did he know she would draw him in and treat him as one of the family.

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▲

Loretta wowed a sold-out crowd at The Carson Center in 2016.

PHOTO BY BILL FOX

▲

“She’s simply amazing,” Chris adds. “She’s such an important figure. She broke so many barriers to women’s rights. She did a song called ‘The Pill.’ Back in the 60s, that was controversial. They actually banned it from radio stations for a while. She’s a rebel.

She’s a firecracker.”

And Chris is still in awe. “For me, to step on the stage with her at the Grand Ole Opry, it was like Wow! This is where it all began.

Because it was at the Ryman, which was the original Grand Ole Opry.”

Chris has seen it all—from the homespun charm of a grandmotherlike figure at home to a superstar on the biggest of stages. And, he says, she still’s the same, humble lady she’s always been. “She’s still the coal miner’s daughter.”

Loretta having fun on stage with her son Ernest Ray at the Executive Inn Paducah

▲

Loretta became a mainstay at Kaintuck Territory in Marshall County.

MA R C H/ A P RI L 2020 • 13

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THIS AWARDWINNING COUNTRY GIRL HAS NEVER LOST HER LOVE OF KENTUCKY, WHETHER IT’S BUTCHER HOLLER IN THE EAST OR THE RIVER CITY OF PADUCAH IN THE WEST ★

by J.T. C RAWFORD

LORETTA LYNN STILL REIGNS AS

TheQueen MARCH/APRIL 2020 • 15

16 • PAD U CAH L I FE

I

IT WAS EASY TO FEEL TRAPPED. NO MATTER WHICH WAY little Loretta Webb looked, she saw walls. Hemmed in by the mountains of eastern Kentucky, the barriers were more than geographic—they were hewn from abject poverty.

The oldest of eight siblings, Loretta could only help by caring for the other children as her family barely scraped by. Her father started as a sharecropper, etching out just enough to barely maintain a ramshackle shack. Life was beyond arduous, and those living in Butcher Hollow sought escape any way they could.

“There was one person in that holler that had one of these tiny radios,” Loretta says in the Ken Burns documentary Country Music. “And on Saturday night, everybody would end up at that one house and would listen to the Grand Ole Opry. Daddy, when he got his job in the coal mine, got a Philco radio. That was the greatest thing that ever happened to us.

I’d go to sleep every night with that radio with a blanket over the top of me. Sometimes I’d be froze to death, but I’d listen to that radio.”

The music gave Loretta wings, transporting her soul over the mountain ridges to the world beyond. She tucked each song into her heart, singing them to her siblings as they went about their daily chores. She recalls her mother listening to the bluegrass of Bill Monroe on the radio and dancing around the house. Country music gave the Webb family an escape.

At the end of 1947, at the age of 15, Loretta met “Doolittle” Lynn. Within a month, the two were married. Doolittle took Loretta to Washington state where he worked in the logging industry. She had four children in quick succession. Doolittle, knowing her love for music and her talent, bought her a guitar from Sears and encouraged her to perform.

Loretta worked diligently to improve her playing and master songwriting. She’d often line up her children, singing her songs for them. Loretta formed a band and performed regularly in a couple of different taverns.

Norm Burley, who’d heard Loretta sing on a local television show, sent Loretta to L.A. to record her song “I’m a Honkey Tonk Girl” in 1960. Doolittle mailed thousands of copies to radio stations across the United States. Then, he and Loretta struck out on a road trip to visit as many stations as possible. They slept in their car, eating sandwiches along the months-long journey. Loretta would slip into a dress, go into a station, and relentlessly request that her song be played. She’d then head back to the car where she’d change back into jeans and head to the next stop. By the time they arrived in Nashville three months later, the song was number 14 on the country charts.

Loretta became a part of Nashville’s country music scene. In 1961, just after Patsy Cline was involved in a serious automobile accident, Loretta sang “I Fall to Pieces” live on Ernest Tubb’s radio program. Patsy heard it in her hospital room and sent her husband to fetch Loretta. The pair met in Patsy’s room shortly thereafter and became close friends.

Patsy mentored Loretta in the music business. Once, while on a tour together, Loretta ran out of clean underwear. Patsy gave her some of her own. The underwear is now in Loretta’s museum on her ranch.

Doolittle had been Loretta’s biggest fan, encouraging her to share her talent with the world.

He also gave her the fodder she needed to write some of the most memorable songs ever penned. While Loretta inexplicably loved him, their relationship was marred with Doolittle’s alcoholism and adultery. Loretta pushed back, displaying the fiery spirit she’d become known for. Moreover, she poured her life into her songs. And it resonated with women.

Below: A young Loretta in Eastern Kentucky

Doolittle and Loretta on their wedding day.

Doolittle and Loretta with their youngest children, twins Patsy and Peggy.

MA R C H/ APR I L 2020 • 17

Loretta recalls how one of her first major hits came after meeting a concertgoer. “This little girl comes backstage at a show,” she says. “She had her hair up in curlers and no makeup on, and she was telling me about how her husband wouldn’t bring her to a show. She says, ‘I want you to look—he’s sitting out there on the third row with this gal he’s been going on with.’ And I looked out there, and I seen this gal all painted up. And I said, ‘Honey, she ain’t woman enough to take your man.’ And I went to the dressing room and wrote it right away.”

The song, “You Ain’t Woman Enough (To Take My Man)” was released in 1966 and propelled Loretta into a new realm. She followed it up with the autobiographical “Don’t Come Home A’Drinkin’ (With Lovin’ on Your Mind).” In reflecting on her popularity, especially among female listeners, she says, “They were going through the same thing. And they knew I was going through the same thing, too. They just bought the record and would see their husband coming and put it on and turned it up!”

Later, Loretta released “The Pill,” a song advocating for women’s rights in reproductive choices by taking birth control pills. Not surprisingly, it was controversial. Her label shelved the song for a few years, and, even when it was released, many radio stations refused to play it. Its message could not be ignored, however. The song rose in the country music charts and even crossed over to the pop charts.

Loretta released hit after hit both as a solo artist and as a duet partner with Conway Twitty. Her life story became a major motion picture with the release of Coal Miner’s Daughter in 1980. The film was nominated for Academy Awards in 8 categories including Best Picture. Sissy Spacek won the award for Best Actress with her portrayal of Loretta. It cemented Loretta as a legend.

ABOVE: Loretta Lynn performing. Loretta celebrates Sissy Spacek’s win of the Best Actress Oscar following Spacek’s portrayal of Loretta in Coal Miner's Daughter. OPPOSITE PAGE: President Obama presents Loretta with the Presidential Medal of Freedom in 2013.

18 • PAD U CAH L I FE

MA R C H/ A P RI L 2020 • 19

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20 • PAD U CAH L I FE

At the beginning of April last year, Loretta Lynn finally got one of her wishes—she had a birthday party. “I’d just never had one,” she said. It only took 87 years. But only a party for Loretta would require Nashville’s Bridgestone Arena and a guest list that included Garth Brooks, Trisha Yearwood, Keith Urban, Kacey Musgraves, Alan Jackson, Jack White (with whom she won a Grammy), and many more. “I love her because she bleeds her heart out of her songs,” said Darius Rucker before performing “The Pill” that night. “Like, you feel that's real. She felt that. And she knows that. And she's telling you that. You can believe that or not. But it's real.”

Over the course of her career, Loretta’s won multiple CMA awards and Grammys becoming the most awarded female country artist of all time. She’s on the Nashville Walk of Fame and the Hollywood Walk of Fame. She’s been inducted into the Country Music Hall of Fame, the Songwriter’s Hall of Fame, the Nashville Songwriter’s Hall of Fame, and the Grammy Hall of Fame. She received the Kennedy Center Honors in 2003, and, in 2013, President Obama graced her with the Presidential Medal of Freedom. President Obama said of Loretta “…this coal miner’s daughter gave voice to a generation, singing what no one wanted to talk about…” Loretta transcended the music she

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wrote. She became part of our American culture.

She’s given voice to thousands of women, helping usher in radical social changes in the 1960s and beyond. Yet, as she would say, she remains a simple country girl from Kentucky. She didn’t think about starting movements. She simply brought her experiences together with her musical talents. “The songs are just life,” she says. “I seen it or I lived it.” And thankfully, for the rest of the world, this songbird from Kentucky was given wings to fly beyond the valley of Butcher Hollow. She spread her anthem to a world waiting desperately for the empowerment of truth.

MA R C H/ APR I L 2020 • 21

CHOCOLATE ANGEL PIE

O

Pie Crust 1 1/3 cups sifted all-purpose flour 1/2 cup Crisco 1/2 tsp salt 3 Tbsp water

F ALL HER ACCOMPLISHMENTS, ONE OF LORETTA Lynn’s greatest sources of pride is her mastery of southern cuisine. In the early 80s, she became a spokesperson for

Crisco shortening. It was a perfect match. And for

Loretta, it was no act. She

used her own recipes in each ad. And

Preheat oven to 425. Combine flour and salt in mixing bowl. Cut in Crisco with a pastry blender or two knives until mixture is uniform (mixture should be fairly coarse). Sprinkle with water, 1 tablespoon at a time; toss lightly with fork. When all water has been added, work dough into firm ball. Press into flat circle with smooth edges. Roll out on lightly floured surface into a circle about 1/8

when you saw her in her kitchen, she was

inch thick and about 1 1/2 inches larger than

surrounded by her own family including

inverted 9-inch pie plate. Gently ease dough

her daughters, grandkids, and husband Doolittle, who showed off some of her county fair blue ribbons in one of the ads.

In 2004, she published You’re Cookin’ It Country: My Favorite Recipes and Memories, a compendium of 120 recipes. She also tells stories centered around food, such as her mom hunting rabbit for dinner to preparing chicken and dumplings for Jack White.

When Loretta learned of our interest in writing about her, one of the first things she wanted to share was one of her recipes. It’s a gift of love from a true, southern heart!

into pie plate, taking care not to stretch dough. Trim 1/2 inch beyond edge of plate.

Fold under to make double thickness around rim. Flute edge of pastry as desired. Prick bottom and sides of shell with fork. Bake at 425 for 10 to 15 minutes until lightly browned. Cool.

FiLLiNG 1 package (4-serving size) instant chocolate pudding mix 1 cup milk 2 Tbsp cocoa 1 container (8 ounces) frozen, non-dairy whipped topping, thawed Combine pudding mix and cocoa in medium bowl. Blend well. Add milk. Beat with rotary beater or at lowest speed of electric mixer one minute. Fold in thawed topping. Spoon into baked and cooled crust. Freeze at least four hours. Garnish with additional whipped topping and/or chocolate shavings if desired.

Store leftover pie in freezer or refrigerator.

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Country

MUSIC

I

★

A F ILM by K EN B URNS

N 2019, DOCUMENTARIAN KEN BURNS RELEASED an 8-part PBS series, diving into the roots and story of country music, a uniquely American form of musical art. The evolution of the genre parallels the history of the United States. Pulling from a melting pot of influences, country music emerged from common folk who played readily available and portable instruments such as guitars, banjos, and fiddles. The influences were as diverse as Irish folk music and African rhythms and melodies.

With accompaniment, they poured their lives and experiences into the lyrics. Unknowingly, they created a new kind of music. It was honest and struck a chord with the majority of Americans who felt like the music could have been plucked from their own lives. And as the music grew over the years, it became as diverse as the people who loved it.

The documentary series traces country music’s history through the lives of its biggest influencers—people like Jimmie Rodgers, Maybelle Carter (who is recognized at the mother of the modern-day guitar playing style),

24 • PAD U CAH L I FE

Hank Williams, Patsy Cline, Johnny Cash, Charlie Pride, Dolly Parton, Tammy Wynette, George Jones, Chris Kristofferson, Reba McEntire, Willie Nelson, Waylon Jennings, the Judds, Garth Brooks, and many more. Loretta Lynn’s story is recounted in depth as she is identified as a major force in the formation of the genre.

As stated by PBS, no one has told the story this way before. The personal lives of the artists are interwoven with what was going on in the world around them. That, in the end, is what created the music that influenced millions.

In an interview, Ken Burns said, “Country music is so close to the bone that we disguise it. The human condition is loss. None of us get out of this alive. The great art is to negotiate that difficult truth. Most of us run from it. Country music is about two, four-letter words—love and loss. And it does it magnificently.

When Hank Williams sings ‘Hear that lonesome whippoorwill, he sounds too blue to fly. The midnight train is whining low. I’m so lonesome I could cry’ there’s no one on the planet who doesn’t know what he is talking about. ‘The silence of a falling star lights up a purple sky.

And as I wonder where you are, I’m so lonesome I could cry.’ It’s about as elemental as you can get.”

No matter what you think of country music, you will be surprised at how its story unfolds and reflects who we are as a nation. Country Music tells the story of the music, but moreover, it tells the story of who we are as Americans.

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7:30 PM AT THE CARSON CENTER TICKETS: $ 21 | $ 38 | $ 48

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MA R C H/ A P RI L 2020 • 25

Paducah’s crown

Jewel The Growing Legacy of Paducah’s Carson Center ★

by J.T. C RAWFORD

D

— D AV I D C R O S B Y

AVID CROSBY STOOD IN AWE OF THE MAGNIFICENCE of Paducah’s Carson Center. He and Graham Nash stood just off stage, peering around a curtain at the fans awaiting their entrance.

They’ve seen innumerable venues in their years together. Their second appearance as Crosby, Stills, and Nash was at Woodstock.

Yet even after thousands of shows, they never tire of playing special venues. And they recognized The Carson Center as one of them.

Last year, The Carson Center celebrated the anniversary of its 15th season.

Built primarily as a home for the Paducah Symphony Orchestra, the performance venue has become known as one of the best settings of its size for live shows and concerts. In recent years, several traveling productions have recognized its qualities, tech-ing their shows here before going on the road. And The Carson Center bridges the gap between the past, present, and future when it comes to hosting concerts from national touring artists.

When its doors first opened for the inaugural season in 2003-2004, the tone was set immediately with the first performers—Vince Gill and B.B. King. Since then, the venue has played host to a list of notable artists.

STEVEN CURTIS CHAPMAN AND MICHAEL W SMITH PLAYING AT THE CARSON CENTER.

26 • PADUCAH LIFE

Photography by BILL FOX

MA R C H/ A P RI L 2020 • 27

CarsonCenter “Paducah is on the way to everywhere,” says Mary Katz, Executive Director. “We can get people coming through. It’s an advantage. And Nashville has really changed, even since The Carson Center opened. It’s become a hub for agencies that represent a lot of talent.

Those agents know Paducah whereas someone in LA or New York wouldn’t.”

Many times, the staff have been amazed at those they saw coming through the doors—people like Itzhak Perlman, Merle Haggard, Bo Diddley, Hootie and the Blowfish, Jerry Seinfeld, Willie Nelson, George Jones, Micheal Bolton, Boston, and more.

The biggest star to perform at The Carson Center was Bob Dylan just two seasons ago. But according to Mary, he was also one of the least memorable for the staff. “Nobody ever saw him,” she says. “He didn’t talk to anyone. He just came in, did his thing, and left. We do have some of those like that who will stay on their bus and just come in to perform.”

On the opposite end of the spectrum, a memorable moment came last year when the POP 2000 tour came to Paducah. Hosted by Lance Bass of NSYNC, one of the artists, Aaron Carter was visited by police twice during the night. Embroiled in a family drama that included a restraining order, the added attention and serving of papers landed photos from his performance here on multiple news sites. “I had to get him out of the meet and greet,” says Mary. “That was unique. Then he wouldn’t do his post-show meet and greet. I went and said, ‘You are going to do this and not embarrass me.’ He was about 90 pounds dripping wet. There was even a stalker there that night. It was just so weird. You don’t get that with the classic rock-and-rollers.”

Most celebrity visits are rather routine, according to Mary. There are the occasional odd requests—like only using a brand new toilet seat that a personal assistant had to witness being installed or the complete juicing bar with a huge variety of fresh fruits.

“And then there are those artists that are just so wonderful,” says Mary, “like America when they came. I just wanted to go on tour with them after I met them.

They were sweet, kind, and engaging. Lynyrd Skynyrd was the same way.”

A highlight for Mary was The Beach Boys. “I was

28 • PAD U CAH L I FE

backstage, just doing stuff, and they were like, ‘Hey, do you have any Halloween costumes?’” It was October 29, and The Beach Boys had come up with an idea. “They wanted to do the Monster Mash at the end of show.

They asked if we could get some costumes and come out in them.” Mary called her daughter, and they set about rounding up costumes. At the end of the night, Mary and others appeared on stage. “I put on some frog costume. I guess everyone thought we were part of the act. They were so much fun.” The moment even sparked the annual fundraiser, the Monster Mash 5K. Others exhibit a strong interest in Paducah and want to take in what the city has to offer. Billy Gibbons of ZZ Top made his way around downtown one afternoon.

And Ron White considers Doe’s a must-visit every time he is in town. “So many of the acts are great and they are so appreciative of their fans here,” says Mary. “That makes for some very special shows.”

Mary is always on the lookout for opportunities to schedule music throughout the year. But, she, says, the task has gotten more difficult.

Left to right, top to One of the challenges has been bottom: Sara Evans, the resurgence in popularity of David Crowder Band, Amy Grant, Roy Clark, classic acts, causing appearance George Jones, Willie fees to rise sharply. Additionally, Nelson, ZZTop and the Doobie Brothers many acts are now banding together to do stadium and arena tours. “Even Foreigner, who was my first concert back in ’82, by the way, has doubled their fee since they have been here a couple of times,” says Mary. “But we can still pick up some of these shows thanks to our advantages.”

Most recently, The Carson Center played host to artists such as Boz Scaggs, Foghat, and Pat Benatar.

“The Carson Center is a special place. It is very intimate,” she adds. “Sure, there is something to playing an arena. Everybody is screaming and going crazy. But it’s not very personal. That’s what we have here. A more personal connection. Artists love it. Most of them cannot believe that it’s even here. And the acoustics are so great. We just upgraded our sound system. And the artists love the audiences here. People are so excited and appreciative to be on this stage.”

The Carson Center represents a long history of treasuring the performing arts in Paducah. It is a culmination of the dreams of many who envisioned a world-class facility for not only our symphony but for those who tour. It is a crown jewel for our region and beyond.

MA R C H/ A P RI L 2020 • 29

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MIDTOWNDESTINATIONS! 30 • PAD U CAH L I FE

BIG TIMES

by

J.T. C RAWFO RD ★

When Yvonne Holsapple took over as manager of Executive Inn Paducah, she also assumed the role of booking musicians to play the Showroom Lounge. The performance venue, which held about 1300, had been patterned after the showrooms in Las Vegas.

31

From the beginning, the Showroom was an integral part of the business model. The opening weekend featured Jim Nabors. “Shows were there to help fill up the hotel,” says Yvonne. “On weekends when there were no conventions, we’d have shows. And we’d have packages with tickets and rooms. It was interesting. I didn’t get a lot of instruction on what to do. The previous owners went through a middleman in Nashville. I don’t think they even told him who they wanted to have here. He just booked who he thought he could get. When we took over, I would tell him who we wanted. Eventually, I started booking directly with the talent agencies.”

For someone with no experience, Yvonne quickly became a pro, learning what worked in Paducah, identifying up-and-coming stars, and getting accustomed to fulfilling riders (a list of an artist’s requirements during their visit). “We had all kinds of requests,” she says. “The first month I was there, a big artist came in, and he was used to being furnished with ladies after the show. I was stunned. I thought if all entertainers are going to be like that, I couldn’t do it. But he was the only one who ever asked. I just told him we couldn’t provide that.”

CLOCKWISE TOP LEFT: The Beach Boys put on one of the Executive Inn's most memorable shows in 1997. Little Richard displayed his trademark smile for Yvonne's camera. Yvonne became quick friends with Willie Nelson, a Showroom regular. One of The Judds earliest shows was in Paducah.

32 • PAD U CAH L I FE

Billy Ray Cyrus lived at the Executive Inn and fronted the house band at the Time Out Lounge.

When “Achy Breaky Heart” started to climb the charts, he headlined the Showroom.

MA R C H/ A P R I L 2020 • 33

there was a labor conference at Kentucky Dam Village. He was friends with a girl who worked for me. He called her and said, ‘My son is in a band.

If you can put him in the Silver Saddle (the bar adjacent to the Showroom), I’ll make sure all the representatives come down one night and give you a bunch of business.’ I’ll never forget the first time I saw Billy Ray. We booked him into the Time Out Lounge at the Silver Saddle, and he really did well.

We would then book him every month for two or three weeks per month. He even lived in one of the suites off and on when he was there. That went on for about eight to nine months. And people loved him. It would be standing room only, and he pretty much became the house band. He got a record deal during that time and came out with Achy Breaky Heart. We had him booked in the Silver Saddle, and he got so big that I had to put him in the Showroom. He was so excited. He was such a good kid. When he was in the Silver Saddle, he’d told me that his goal was to one day play in the Showroom.”

In addition to up-and-comers, the Showroom booked established stars—artists such as Little Wayne Newton, left, wowed the Showroom crowd on multiple occasions. Below, Vince Gill takes a photo with a fan backstage.

Yvonne discovered immediately that country music was the biggest draw. Once a year, she would attend a conference in Nashville that showcased new artists. “I’d book artists from there. And I listened to people on the radio. That’s how I got Reba McEntire. She was just the absolute sweetest lady. She was here after she was a big hit, but I had booked her before. I would also get acts who were passing through and could use another night somewhere. That’s what happened with The Judds.

It was on a Sunday night. I filled up the hotel and made money on the show.”

The most unique story to come out of the Executive Inn Showroom is that of Billy Ray Cyrus. “He was a miracle,” says Yvonne. “His father was a state representative in Frankfort. Every fall,

34 • PAD U CAH L I FE

Richard, Tanya Tucker, Willie Nelson, Vince Gill, Fats Domino, Chubby Checker, George Jones, The Temptations, Wayne Newton, Commodores, Hank Willams, Jr., and even Bob Hope. Frankie Valli and The Four Seasons practiced in the Showroom for a week before starting a Las Vegas residency.

Yvonne booked an outdoor show with The Beach Boys, which, she says, is one of her favorite concert memories from the Executive Inn. “And Willie Nelson was just a great guy,” says Yvonne. “I always had friends who wanted to meet some of the artists, and he’d say, ‘Yeah, just come on back the to bus.’ Everyone loved that. I just really liked him.”

Yvonne loves to hear about the cherished memories many have of attending shows. The long list of celebrities who performed at the Executive Inn represents a catalog of happy remembrances. “It was a true Showroom,” she says. “There were tables and booths. It was a different kind of experience. You took your best friends, watched the show and drank, and interacted with one another. It was exciting, and it was a good time.”

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PErson Psychic David Hoy, guitar virtuoso Chet Atkins, and Kaintuck owner and music promoter Walter Sill

The Musical Legacy of Kaintuck Territory

H

★

by J.T. C RAWFORD

E WAS ONE OF THOSE PEOPLE THAT ONLY HAD TO SLEEP ABOUT FOUR hours a night,” says Lynn Sill as she sorts through stacks of aging papers, posters, and photos piled up on her kitchen table. The heap of memories reflects just a small fraction of what her father Walter Sill accomplished in his lifetime. Lynn has much more memorabilia, but this is all we could get through in one sitting.

MA R C H/ A P RI L 2020 • 37

,,

kaintuckterritory Walter’s parents were in the oil business in Texas. His father, who loved to fish, bought a home on Kentucky Lake.

And Walter fell in love with the area. “And dad’s mind was always going,” adds Lynn. “He was always thinking, coming up with new things he wanted to do.” In the 1960s, that included building an 1800s western theme park in Marshall County. “He really wanted to do something special there to draw more visitors to partake in the beauty and wonder that the lake area had to offer.”

On 100+ acres, Walter built Kaintuck Territory just about a mile from Draffenville. It included everything you might imagine in the old west—a general store, a blacksmith shop, a saloon (for soda), a print shop where you could get your face on a wanted poster, a jail, Ma’s Restaurant, and more. Visitors could watch gunfights, take a ride on the train, or go on a canoe trip. “We didn’t watch westerns on TV,” says Lynn. “We LIVED the westerns. There were cowboys and Indians, a stagecoach, and saloon shows. It was a marvelous time to be a kid.”

Walter, in his survey of all he’d built at Kaintuck, noticed a small plot of land that was situated on a gentle slope.

It was a natural amphitheater. Concerts, he thought, were another way to draw people to Kaintuck. Nothing Walter did was modest, so he headed down to Nashville to find the best artists. He struck up a close friendship with Chet Atkins, one of the most celebrated guitarists, performers, and producers who had ushered in a golden age of country music in the 50s and 60s. “We’d go to Nashville in the winter,” says Lynn. “That started in the late 60s. He knew a lot of movers and shakers down there.”

Walter also established a three-day, three-stage music festival in a field nearby Kaintuck. Held the same year as Woodstock (1969), Music Festival U.S.A. brought together pop, rock, and country musicians who performed and competed for an RCA recording session with Chet. From there, Walter began booking a steady stream of big names to perform at the amphitheater. One of the first was Loretta Lynn, who became a Kaintuck regular over the next decade. In 1971, The Porter Wagoner Show made their first of many appearances. That included performances by a young Dolly Parton who was an integral part of Porter’s show for many years.

During the 1970s, the park played host to a litany of big names—artists such as The Platters, The Monkees, Marty Robbins, Hank Williams Jr., Johnny Cash, Brenda Lee, Barbara Mandrell, Buck Owens, and Merle Haggard, which only comprise a small fraction of those who appeared there.

Walter and his family lived in the park as did some of those who worked there. Many of the buildings were twostory with lower floors being used as part of the attractions and the upper floors used as living spaces. When artists visited Kaintuck, they used the Sill residence as their green room. Walter would make trips to Paducah liquor stores and load the back of a pickup truck to get ready. Jerry Lee Lewis, who performed at Kaintuck regularly, became a common sight in the Sill household. Walter later wrote about one of Jerry’s most memorable visits.

“His musical prowess was exceptional,” said Walter. “He was most assuredly a ‘Killer’ performer (his nickname), but he also excelled in living up to his wild man infamy. I will not disclose all instances of his times at Kaintuck since some things are best left up to your own imagination.”

In one instance, a reporter came to interview Jerry. “When the reporter arrived, Jerry Lee was still in his room.

So I went and knocked on the door letting him know the gentleman was waiting for him in our living room. A few minutes later, Jerry Lee made his entrance—completely in the buff—au naturel—butt naked! I knew, at this point, he WOULD be living up to his ‘wild man’ reputation.”

For the show that night, Walter had to rent the piano and bench. “I should have never been so naive,” recalled

38 • PAD U CAH L I FE

A few

of the stars to regularly visit Kaintuck were (clockwise) Merle Haggard, Marty Robbins, B.J. Thomas, Jerry Lee Lewis, Loretta Lynn, Tom T. Hall, and Johnny Rodriguez.

PHOTOS BY GREG TRAVIS

MA R C H/ A P RI L 2020 • 39

kaintuckterritory Walter. Jerry gave a tremendous performance, as always. “But then,” continued Walter, “as the time neared to wrap up the concert, he amped up his collection of skills and abilities which included, but were not limited to, taking off his shirt, climbing up on top of the piano, whipping out a can of lighter fluid from his pants pocket, dousing the top of the piano with it, and ceremoniously lighting it on fire.

After the fact, I thought of it as the rockabilly version of Jimi Hendrix torching his guitar. Jerry Lee then hopped off the piano, ripped a leg off of the piano bench, and commenced to ‘playing’ his wooden leg guitar, after which, he heaved it and the rest of the bench off of the stage towards the audience area. What more could I possibly ask for in having my guests experience an unforgettable execution of a Jerry Lee Lewis concert?” Even though Jerry was often destructive, Lynn remembers that he always made good, paying for whatever he annihilated.

The popularity of the show often meant sold-out, standing room only crowds, which numbered in the thousands. The first time the Statler Brothers played Kaintuck, traffic backed up for miles in either direction on HWY 641. All Walter could do was stand on the side of the road and help direct. “During this predicament, a new, classy, white Cadillac crawled forward,” recalled Water. “The front passenger window rolled down, and an elderly woman with a large cup of soda was sitting in the seat. She looked at me & said, ‘Who's responsible for this terrible traffic problem?’

With my friendliest smile, I answered, ‘Well, I guess I am ma'am.’ She looked at me, started cussin' me out, and immediately threw that entire large soda with ice into my face. As I stood there with the sting from the ice cubes bouncing off my forehead and face, my shirt

40 • PAD U CAH L I FE

clinging to my skin from the sticky soda, and a deer-in-the-headlights look in my eyes, I said, ‘Thank you, ma'am. I needed that on this very hot day.’ Then I started thinking about how much I was looking forward to directing traffic at the next big concert we were going to have at Kaintuck.”

Walter had so much success in booking shows that, in 1978, he sold Kaintuck and moved to Nashville to be a concert promoter. One of his first clients was Randy Travis. He also established the World Talent Search with Chet and friend Johnny Cash who became the face of the competition. Walter’s move to Nashville left a void in the musical landscape of west Kentucky.

Jerry Lee Lewis regularly performed to capacity crowds at Kaintuck.

Greg Travis, who was a budding photographer for the Marshall County Tribune, was a mainstay at most of the shows. “I spent hours and hours photographing the various stars,” says Greg, “but I also had the opportunity to spend time talking with them— whether it was attending a pre-concert reception with Wet Willie, waiting at the side of the stage with Marty Robbins, or relaxing on a tour bus after a concert with Loretta Lynn or the Oak Ridge Boys. Every star was incredibly friendly and accommodating. They were all great, but if I had to pick a few of my favorite concerts and favorite experiences I would have to pick Loretta Lynn, Merle Haggard, Marty Robbins, Jerry Lee Lewis, the Oak Ridge Boys, and Black Oak Arkansas.

Jim “Dandy “ Mangrum, the lead singer of Black Oak Arkansas, had me on stage with the band. I remember him telling me something on the order of You can’t get good pictures over there at the side; get out here with us.”

Greg credits Walter, of course, for giving him such opportunities. Walter brought a sense of adventure and a roster of musical stars to west Kentucky in a way no one else could.

“If he could give something a thought, he’d give it a whirl,” adds Lynn. “He was quite the character. He had all these stars here, but he was just as fun and entertaining to be around. I always tell people HE was dinner and a show.”

MA R C H/ A P RI L 2020 • 41

H

by J.T. Crawford

On the Road with the

Chitlin’ Circuit Many famous musicians found a safe harbor and friendly faces at Paducah’s Hotel Metropolitan

I

T WAS A HUMID, WARMER-THAN-AVERAGE, SPRING day in Paducah. Bright, bell-like tones rang out just south of Broadway somewhere around 6th and 7th streets. Those in the neighborhood, from old to young, took to the sidewalks, walking, searching for the source of the sound. On the front porch of the Hotel Metropolitan, in a ramshackle chair, sat a lanky young man, electric guitar in hand, an amp by his feet. His fingers glided along the strings as he swung his hips back and forth, the chair twisting, turning, dancing to every beat.

It was the early 1950s. The young man had mastered the instrument, and he had a show that night in Paducah. B.B. King was well on his way to becoming the King of the Blues. But, because of the color of his skin, the only place he could call home while in Paducah was the Hotel Metropolitan. There, he found refuge, rest, and a community who were more than eager to take in an intimate, musical moment on the front porch.

African American musicians were a mainstay of touring artists who visited

42 • PAD U CAH L I FE

Paducah. Black musicians made their way from river cities such as Memphis, St. Louis, and New Orleans, taking their songs to the rest of the world. Sadly, it was a challenge to find lodging and food on the road due to segregation. The Hotel Metropolitan was a place of respite. Opened in 1908, the hotel was known by traveling African American artists as a welcoming, friendly place to stay. Beginning in the 1940s, the Hotel Metropolitan was known as a place to stay along the Chitlin’ Circuit, a network of venues and cities where black artists could perform.

“There were many musicians who stayed here,” says Betty Dobson who runs the Hotel Metropolitan, now a museum and historic landmark. “Velma Hammock, who owned a funeral home nearby, told me that Louis Armstrong was a regular.”

Louis had been discovered in New Orleans by Paducah native Fate Marable who was a bandleader on the paddlewheelers up and down the Mississippi and Ohio Rivers. “Mrs. Hammock was known for her beautiful voice. So when Louis would come into town, he’d stop and see Mrs. Hammock. Once, he was scheduled to play at the Irvin Cobb for a white audience.

She said he was so excited about the event and about being able to perform in Paducah.” The show, while wildly successful, was still tinged with the nefariousness of segregation. “During the break,” adds Betty, “they were not allowed to use the restrooms. They were given coffee cans and directed to the roof.”

MA R C H/ A P R I L 2020 • 43

Paducah’s Hotel Metropolitan

“Once you got here, you could rest easy.

You could find a place to actually get a room where there were people who would take care of you, feed you, and encourage you along the way.” - BETTY DOBSON Another up-and-coming star who visited Paducah was Ella Fitzgerald when she was part of the Chick Webb Band. “Joe Dance, who went to my church, told me that he went to see them,” says Betty. “He had a few drinks in him, and he decided to ask Ella to dance. He walked up and said, ‘Ella Fitzgerald, my name is Joe Dance. Want a dance?’ He said they both started laughing. It just didn’t come out right.”

44 • PAD U CAH L I FE

There are tales of people like Duke Ellington who rolled into town in a new Cadillac. Many of the boys in the neighborhood had never seen such a car, so it attracted a small crowd of kids who wanted to touch it. Duke spent a little bit of time shooing them away.

Later, acts like Ike and Tina Turner played Paducah and stayed at the hotel. “A gentleman told me he’d gone to the civic center to see them,” recalls Betty. “He was so excited to see Tina that he grabbed her leg while she was on stage. Ike walked over and hit him in the head with his guitar and never stopped playing.”

Others who stayed at the Hotel Metropolitan included Sam Cooke, James Brown, Chuck Berry, Billie Holiday, Mahalia Jackson, Little Richard, and Jackie Wilson, just to name a few. One of the favorite rooms of several artists was tucked away in the far back corner of the first floor.

The room had a fireplace and offered some seclusion. Duke Wade, who had been the road manager for many acts, remembered the room. As the hotel underwent renovation in the late 90s, Mr. Wade told Betty about the existence of the fireplace, which had long been walled-in.

One can only imagine nights at the local skating rink with performers like B.B. King and Cab Calloway as they poured their youthful energies into crowds who danced shoulder to shoulder, packed together, lost in the music. Can you envision “Mr. Dynamite” James Brown under the lights at Brooks Stadium on a hot August Paducah night just two months after he’d released his new song “Papa’s Got a Brand New Bag?” These are a part of Paducah’s history. And, following their shows, they found rest at the Hotel Metropolitan.

“Paducah and this hotel were well-known,” says Betty. “Once you got here, you could rest easy. You could find a place to actually get a room where there were people who would take care of you, feed you, and encourage you along the way.”

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MA R C H/ A P RI L 2020 • 45

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F O R T H E U N I V E R S E O F YO U 46 • PAD U CAH L I FE

Oh Boy! Kelsey Waldon Signs to John Prine’s Record Label H

by J.T. Crawford

I

n February, hometown

musician Kelsey Waldon found herself on her first live tour of the United Kingdom, headlining a show in London. It could seem like there would be a bit of culture shock, going from Monkey’s Eyebrow in Ballard County to the land of monarchs, high tea, and a frenzied passion for British football. But even though Kelsey hasn’t performed in the UK before, she’s been traveling far and wide with her music for quite some time. And there’s one thing she’s learned: people are the same everywhere you go.

They share many of the same feelings—joys, loves, fears—which makes the world ready for her style of down-home, personal country music.

MA R C H/ A P R I L 2020 • 47

Kelsey Waldon

In the 2011 summer music issue of Paducah Life Magazine, we introduced you to Kelsey, the 2006 Ballard County High School graduate who had just left home to pursue a career in songwriting. Like with many successful songwriters before her, inspiration began with the Beatles. “When a friend let me borrow Rubber Soul, I knew for sure I wanted to make music,” she said. Kelsey then immersed herself in all forms of American music. She added,“Blues, folk, rock—it doesn’t matter to me as long as it has those deep roots. I love rootsy songwriting.”

Kelsey’s journey led her to Nashville where she surrounded herself with like-minded musicians. There, she honed her

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craft, self-releasing four albums between 2011 and 2016. Her songs, deeply rooted in the Americana country she’d come to love, reflected her life, influences, and the culture of Kentucky and the south.

And they struck a chord with fans of country music who wanted new music with more of a bite than the top hits of the day.

By the time she released her album I’ve Got a Way in 2016, she’d attracted the attention of media outlets such as Rolling Stone Magazine, NPR, and Billboard. I’ve Got a Way reflected the sound of the country outlaw movement of the 1970s. On the album, Kelsey evoked the spirit of artists such as Waylon Jennings, Tammy Wynette, and others, crafting a gritty, honky-tonk aura that is familiar but purely

“I am bursting with pride to have Kelsey Waldon recording for Oh Boy Records, her music continues an important arc of traditional folk and country music.”

– JOHN PRINE

hers. She mastered the genre with songs that would sound natural in a back road, honky-tonk bar where boots kick up dirt on a rustic wood floor as they dance their cares away on a Saturday night. There are also shining, sentimental moments where Kelsey allows her voice to be vulnerable yet strong, revealing a deep, reflective heart.

Beyond the media attention, Kelsey also caught the ear of legendary singer/ songwriter John Prine. Prine, who was recently inducted into the Songwriters’ Hall of Fame and also won the Lifetime Achievement Grammy, was one of several singers in the early 70s to earn the moniker of the “next Bob Dylan.”

He founded his own record label, Oh Boy Records, in 1984. In addition to his music, Prine worked with other artists over the years through Oh Boy. But in the past 15 years, he had not signed any new artists. At a May Grand Ole Opry appearance, Prine announced that Kelsey (the girl from Monkey’s Eyebrow) would be recording her next album for Oh Boy. Kelsey then joined him on stage to sing two Prine songs, “Unwed Fathers” and “Paradise.”

“I am bursting with pride to have Kelsey Waldon recording for Oh Boy Records,” said Prine.“Her music continues an important arc of traditional folk and country music. I love Kelsey’s singing—her voice is one of the more authentic

country voices I’ve heard in a long time. I’m looking forward to all the shows we’ll be performing.”

“It’s hard for me to put into words what it truly means to me to be signed to Oh Boy Records,” Kelsey said. “To have someone like John, who I have looked up to my whole life, who I have set my songwriting standards after and my general music-making standards after, to have someone like him endorse my music and care enough about it to make sure it reaches a wider audience…that means everything.”

Kelsey supported Prine as an opener for some of his continued Tree of Forgiveness tour dates including an appearance with Prine at Bonnaroo. Kelsey also performed at Prine’s memorable July “hometown” show dubbed “A Night in Paradise” in Central City, Kentucky, which is where Prine’s parents and grandparents grew up.

Kelsey also went to work in the studio, cutting tracks for the album White Noise/White Lines. The first single, “Anyhow,” stayed true to Kelsey’s style. The song speaks of the difficulties and unknowns of life while plugging away anyhow, learning to make one’s own sun shine in spite of the tribulations that beset us all. White Noise/White Lines earned critical and public praise, establishing Kelsey as a leader at the forefront of a new country movement.

As she has done since our interview in 2011, Kelsey had stayed true to herself, her roots, and her love for music. Now, she is reaping the benefits, winning new audiences around the world.

MA R C H/ A P RI L 2020 • 49

50 • PAD U CAH L I FE

Lighting Way wi t h the

by J.T. Crawford

BOBBY GREY

He’s been around the world, mastering a trade that is making his dreams come true. And he never forgets where it all began.

I

t’s that spine-tingling moment

you’ve been waiting for. The venue lights finally dim, and a roar goes up from thousands of fans who, for months, have been anticipating this concert. The artist takes the stage, and the air bursts forth in song and light. For the next few hours, you are treated to a dazzling display of sound and color. Anticipation and preparation are married together, crafting moments of emotion that will live in memory forever. At the center of the swirl is the maestro of luminosity, Bobby Grey. He puts the shine on the sound, creating and controlling the symphony of sight.

As a lighting designer, Bobby plies his trade internationally, traveling the world, working with multiple clients to transform spaces with dazzling displays. When he’s not on the road, he calls the countryside near Paducah home. It’s where he likes to come back to. It’s where he got his start.

“When I was in high school, me and my friends had our guitars and our little band, and we played music on the weekends,” says Bobby. “My hobby was an endless pursuit to try and record us with whatever gear I could get together.

I really got into it. I went down the rabbit hole of doing audio. I’d go to concerts, and I’d look around at all these guys working, and I thought they had it made.”

Bobby, who possesses an infectious energy and curiosity, never held back from asking questions. “I talked to some of the roadies. I watched them all load up on a bus at the end of the night and head off to the next city. That was cool.”

Not long after, Bobby met Joe Searcy, Production Manager at The Carson Center. “I brought a resume to Joe,” says Bobby, “and he let me unload trucks one week. By that summer, I was working regularly. Joe always took the time to explain how to be a good employee and all about stagecraft.

Mike Brewer, the Stage Manager, taught me a lot. He’s a do-all there. And Jennifer Thompson, the House Lighting Designer, really took me in. It wouldn’t take long to set up audio, but there was a lot to do with lighting. She taught me all the basics and how everything works. Everyone was very long-suffering to a kid like me.”

Bobby cherished his time at The Carson Center, but he had a growing dream of traveling and taking a show on the road. After The Carson Center, he toured with two acts from America’s Got Talent. “While I was doing that, I met someone who worked at Disney in LA,” he says. “She told me how great it was to work for them as a stagehand. I coldcalled their operator and got ahold of their head of technical services who was perplexed at how I’d gotten through to him.” He invited Bobby to apply, and Bobby got the job.“I

MA R C H/ A P RI L 2020 • 51

Nick Hexum and Aaron “P-Nut Wills, of the band 311, are framed by the lighting work of Bobby Grey.

HIS NAME IN LIGHTS In 2018, Live Design, a creative and technical resource for live entertainment professionals, named Bobby one of their 30 Under 30, a recognition instituted as part of their 30th anniversary celebration. The list recognized “thirty young movers and shakers who are changing paradigms, looking at things from new angles, and rapidly rising to the forefront of their field.” worked there about a year-and-a-half, doing special events and three new shows while I was there.” While at Disney, Bobby connected with Joe Paradise, lighting designer for the band Incubus.“He’d just picked up 311,” recalls Bobby, “who was a big band in the 90s, and they are still going. I had read articles about Joe and watched his work on DVDs. I’d even met him back when I was about 18 at a show and asked him if he had any life advice. He had gotten this grim look on his face and said, ‘Yeah, if you want some advice, go into debt and become a doctor or a lawyer or an accountant or something like that.’ He was serious!” But Bobby was not deterred. He contacted Joe after that, and they met occasionally over the next few years.

“While I was at Disney, he called me and asked if I wanted to go on tour.” Joe mentored Bobby and taught him the art of programming a rock show. When the tour was over, Bobby built a freelance career in LA. “I did everything,” he laughs. “I designed a stage at Coachella all the way down to lighting a bar mitzvah.” He also started

52 • PAD U CAH L I FE

working with Sightline Design Group and, most recently, formed his own company.

After realizing that he didn’t have to live in one particular place to do his job, he moved closer to home near Paducah. “It’s great being back here. There are two flights a day out of Paducah,” he says. “I can go anywhere. The folks at Barkley know me very well!”

When it comes to concert lighting, Bobby knows the importance of his craft to both artists and fans. “The artists are trying to tell a story,” he says. “There’s an arc to a show.

The story is told in music and lighting. You are able to set the mood and set the context for the story. The mood of a space is set by color, amount of light, and where it is coming from. And there’s a new generation of concert-goer now who expect a high-level of production.” Bobby is now known internationally, and his work has taken him to places like China. He’s worked with some big names (really big names) and big companies (many of which we cannot mention due to contractual obligations). When we spoke,

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Bobby was on his way to oversee a lighting installation for Hyatt Hotels in Dubai, and he was working on a production design for the band 311’s 30th anniversary show in Las Vegas.

But no matter where he’s been or who he has met, he never forgets the basics he learned in Paducah.“I have to stress how important regional theaters are—places like The Carson Center and Market House Theatre,” Bobby says.“They are so important to a community. I never thought I could find a career doing something like this. It’s amazing. The practical applications you can learn are priceless. I can take what I’ve learned in Paducah and apply it to just about anything. To have this here on the local level is incredibly important.

It’s invaluable to a community. I found this group of people who were willing to take me in and teach me.

Working at The Carson Center for that couple of years taught me all the ins and outs. Joe, Mike, and Jen were so great to teach me. And it’s taken me around the world.”

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MA R C H/ A PR I L 2020 • 53

Takin’ a Trip

into Town AND Down

Memory Lane H

by Darlene Mazzone

T

O CELEBRATE OUR 30TH

anniversary this year, we’re going to look back in each of our 2020 editions at some pages from the past.

The 2010 July edition of PADUCAH LIFE Magazine featured a series of “take in downtown” articles. Tracey Buchanan explained the new Art a’la Cart activities on Broadway. We announced that Paducah’s downtown had just been named among the top five winners of the 2010 Great American Main Street Award. (Some things haven’t changed!)

“Paducah has always been a land of historical significance,” began the story on Tommy Thompson and his presentation at the Paducah Public Library: A History of Monuments and Memorials in and Around Paducah.“A leisurely Sunday afternoon drive can be a local history lesson in itself,” Thompson remarked.

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The Boy Scouts turned 100 in 2010 and PADUCAH LIFE marked the occasion with a feature on Paducah’s Scout Troop 1. Continuously sponsored by Grace Episcopal Church, Troop 1 received its charter in early 1911. The article followed the amazing path of Troop 1 in our river city.

Lee Emmons had a conversation with local artist E.J. Roberts about her work with local art students. Tracey Buchanan penned a fabulously funny piece titled, Have you heard her speak? Bless her heart. Tracey explored the

The Yeiser Art Center (YAC) will celebrate the 115th birthday of founder Mary Yeiser in April 2020. YAC will kick off a membership drive with a birthday celebration in the gallery on April 3 from 5:00-7:30 PM. This ticketed event will feature cakes, cocktails, and guest speakers reflecting on local history and the contribution of the late Mary Yeiser to the development of arts and culture in Paducah.

Ceglinski western-Kentucky speak in her spectacularly exceptional way.

Governor Steve Beshear appointed Susan Guess to the Murray State Board of Regents. Amelia Martens authored a piece on antiques in Paducah and their amazing ability to travel through time. Janet Colgan and her daughter Julia prepped for college dorm rooms. An article on the Paducah Kennel Club took note of their annual competitive event.

Pieces on the WKCTC Commonwealth Middle College and a brand new STEM event were part of this spring edition.

J.T. Crawford followed some disc golfers around their course to introduce this new sport to our readers. Zachary Althouse won the Rubberband Contest for young inventors held by the National Museum of Education.

And Connie Johnson reminisced with wit and humor about being a sorority mom.

Only some of our pages were color back then. So one of our stories portrayed the beautiful art of Mary Yeiser as part of a story on the 10th anniversary of Love That Art, a fundraiser for the Paducah Tilghman Chad Gamble Tennis Center. It was also in 2010 that the event was passed on to the Yeiser Art Center for future coordination.

Stay tuned for more reminiscing this year as we celebrate the thousands of stories that have been portrayed on the pages of PADUCAH LIFE Magazine throughout its 30 years of showcasing LIFE in our hometown.

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I D GGIN’

DOTS the

Paducah has been home to this one-of-a-kind treat for nearly 30 years—and their popularity shows no signs of cooling.

H

by J. T. Crawford DIPPIN’ DOTS SENIOR MANAGEMENT TEAM: Michael Barrette, Chief Marketing and Sales Officer; Scott Fischer, CEO; Stan Jones, Chief Development Officer; Mark Liebel, Chief Operating Officer

56 • PAD U CAH L I FE

MA R C H/ A P RI L 2020 • 57

W

HEN HE WAS AT WORK, MICROBIOLOGIST CURT JONES MAINTAINED a laser focus on the task at hand. It was the mid-1980s, and Curt was at Alltech in Nicholasville, KY, using liquid nitrogen to freeze probiotics that went into animal feeds. The final form of the probiotics was tiny spheres—the perfect shape and size for transporting and freeze-drying. When he wasn’t at work, his imagination would often wander, taking his education and knowledge base to new realms. One weekend, while making homemade ice cream with a neighbor, his mind took a flight of fancy, creating a mash-up between ice cream and cryogenics.

What would this ice cream be like if I froze it like the probiotics? Curt wondered.

“He experimented around with it a little bit,” says friend Stan Jones. The experimentation proved to be successful. The result was tiny, round dots of ice cream that melted beautifully in one’s mouth. “Six months later, he quit his job. He opened a retail location and found out quickly that sales would be mostly seasonal.

So there were some lessons to learn. But he got some dealers involved and got into wholesale. That’s when he developed Dippin’ Dots as a company.” Stan and Curt attended college together and worked together some after graduating. As Dippin’ Dots grew, Curt brought Stan on board. He now serves as Chief Development Officer.

Curt created the first production facility in Grand Chain, IL in the late 80s in a 20’ x 20’ garage. “The

58 • PAD U CAH L I FE

process is similar to any ice cream recipe on the front end,” says Stan. “We take milk, cream, and sugar, blend them, homogenize and pasteurize, and add flavor. The liquid ice cream mix is dripped into the liquid nitrogen. It freezes instantly. We transport it out of the nitrogen and package it quickly.” The resulting challenge is keeping the dots at a cold enough temperature to retain their desired property. “At our current facility, we have an 18,000 square foot, 40-below freezer. From there, we can ship to all 50 states and six different countries.”

Not long after Curt started in Grand Chain, he moved Dippin’ Dots to Paducah to be in a more central location. The first factory was on 3rd Street.

Opryland U.S.A. in Nashville was the first amusement park to offer Dippin’ Dots. They were sold from bicycle carts. In 1994, construction began at the current facility close to I-24, and since then, Dippin’ Dots has been through three expansions. The flavor profiles have also expanded. There are the usual suspects such as strawberry and vanilla. But in combining multiple flavors, Dippin’ Dots introduced varieties such as banana split, birthday cake, cotton candy, and more.

And with additional ingredients, there are treats such as chocolate chip cookie dough, cookies ’n cream, and pumpkin pie spice.

Global distribution was the result of a natural curiosity about the product. “We’d do international trade shows, and people wanted to have Dippin’ Dots in their home countries,” says Stan. “Japan was our very first. That was back in 1994. We had to figure out how to ship overseas and keep the product at 40 below. It was a thirty-day shipping lane. We’d been using dry ice and an insulated pickup truck within the country. We initially shipped overseas in a 40-foot container with dry ice snow. We kept our

MA R C H/ A P R I L 2020 • 59

Dippin’Dots

fingers crossed until it got there. Eventually, we were able to use mechanical refrigeration systems to ship. We had to develop all of our own logistic and delivery systems due to the uniqueness of the product. It was challenging, but we had our niche.”

In 2003, a licensee opened a manufacturing plant in South Korea to serve markets in Asia. The following year, their notoriety had grown to the point that Oprah featured Dippin’ Dots on her television show. Now, through a developing Dippin’ Dots distribution system, the company is adding about a thousand purchasing locations per year. Additionally, Dippin’ Dots founded DD Cryogenics to market its freezing technology systems to non-competing companies. They are also contracting with other companies to cryogenically freeze additional products. Dippin’ Dots is also establishing manufacturing in Australia, Canada, and China. “China has a huge potential,” adds Stan. “We think someday it will surpass the US market.

“There’s a brand recognition now,” he says. “Anytime someone sees a similar product, the brand recognition is so strong, they’re just known as Dippin’ Dots. It’s like Kleenex or Xerox. We employ about 200 in Paducah and another 50 nationwide. Paducah has been good to us. It has certainly been a central distribution hub. We’re proud of it, and Paducah is too. We have a lot of employees that have been here ten-plus years. Quite a number have been here for over 20 years. Paducah is truly the home of Dippin’ Dots.”

The name Dippin' Dots is synonymous with the dot style of ice cream.

Brand recognition is on the same level as companies such as Kleenex or Band-Aid. This had led to spin-off products and collaborations such as Dippin' Dots nutrition powder, popping candy, and cereal.

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MA R C H/ A P RI L 2020 • 61

Jump Jump by

H by Elena Wrye

62 • PAD U CAH L I FE

N Grace Burch and Cate Kupper learn the value of hard work astride their four-legged teammates

early 1,000 riders

descended upon the Kentucky Horse Park in Lexington to compete in the United States Eventing Association’s American Eventing Championships in August last year. Two of those riders are Paducah’s very own 17-year-old Grace Burch and 15-year-old Cate Kupper.

“By far the coolest show I’ve ever been to,” Cate said of the event. “We got to ride in the Rolex arena.

It felt like we were actual Olympians.”

The young riders felt grateful to compete in the event while it was being held so close to home. According to the United States Eventing Association’s website, the site of the American Eventing Championships has moved every few years since it began in 2004. It has previously been held at the Lamplight Equestrian Center in Wayne, Illinois from 20072009, followed by Chattahoochee Hills in Fairburn, Georgia from 2010-2012 and then Texas Rose Horse Park in Tyler, Texas from 2013-2015. The AEC was held in Kentucky for the first time in its history in 2019 and will be hosted in the Horse Capital of the World again in 2020.

Both Grace and Cate competed in the “Beginner Novice” eventing level. As defined by the USEA, the “Beginner Novice level is designed to introduce green horses and riders to horse trials, combining dressage, cross-country, and beginner jumping tests.

It is designed for competitors and horses that have already had experience in schooling competitions in all three disciplines.”

“Dressage is like ballet; because you want to get your horse up, underneath itself, collected and balanced. Like how a ballerina has to land all of these moves and not fall. The horse isn’t doing twirls in the air, but he’s not doing a lot of that stuff normally, so it’s difficult for them,” Grace said of the discipline.

MA R C H/ A PR I L 2020 • 63

Equestrian Girls

Grace Burch, left, and Cate Kupper with Crimson Flame.

“And they want to see how willing your horse is to your aides, which is you moving and asking them to do what you want.”

“It’s really technical. That’s how I would describe it,” Cate (who Grace called “the dressage person”) said.

“Cross-country is the most fun, by far,” both Cate and Grace said with a smile.

On a roughly two-mile course, riders had to take their horses over various jumps, including water jumps, in a certain amount of time, with the least amount of “faults” (jumps knocked down.)

Scoring for cross-country is based on the objective to successfully jump all obstacles on course (in the correct order), and cross the finish line under the optimum time. The USEA states that this “requires the horse to be fit, agile, and brave and for the rider to

64 • PAD U CAH LIFE

Grace Burch and Crimson Flame competing in cross-country.

decide the proper speed on course and the best route to, and between, the fences.”

Stadium, or “show jumping” asks the horse to be agile, careful and obedient as they again travel over various jumps, except this time in an enclosed space, rather than a cross-country course.

“The stadium was in the Rolex arena, which was incredible to be able to compete there,” said Cate.

“There were ten jumps in the stadium. It really counts here, because in cross-country, most of the jumps are logs and such that you can’t really knock over. But in the stadium, the jumps have poles resting in these little cups and if you touch them they’ll fall out. That’s what hurt Maverick and I,” Cate recalled of her performance.

“We brushed over the first fence

and the first pole came down, then we had a clean ride after that.”

And what does that do to a rider’s morale when that happens?

“Your heart drops,” Grace said.

“You have to not think about it. Because you have to make sure you make the rest of the jumps so that you’re still holding on.”

“You always want to redo it,” Cate mentions.

“Especially in that stadium,” Grace chimes in.

“Oh yeah. I would do anything to redo my stadium course. We wouldn’t have dropped that first rail if I had figured out what he was thinking.”

“It’s always hard because they [the horses] have never been in that stadium. It’s huge and a there’s a lot going on there,” Grace says.

Out of a field of 50 other riders, Cate and her horse, Three Socks

change Be the

you want to see in

Paducah!

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Grace and Cate in the Rolex Stadium.

Maverick (Maverick) went on to successfully place 13th, while Grace took home 4th place out of the competitive division as well.

Grace and her horse, Crimson Flame (otherwise known as Flame) had successful rides that left her feeling satisfied and accomplished, but also looking for where she could still improve.

“We did great. We didn’t knock anything over and we had a good time. I went over the last jump with the biggest smile on my face,” Grace said. “He was a good boy. You have a little bit more of a special bond with your horse as your teammate. Because sometimes it’s scary, and kind of like a life or death situation, so you really have to put your trust in them, and they have to put their trust in you.”

Atto r ney s a t L aw Rooted in tradition. Prepared for the future.

Gary B. Houston / E. Frederick Straub, Jr. / R. Christion Hutson C. Thomas Miller / James R. Coltharp, Jr. / Sharlott K. Higdon Nicholas M. Holland / Elizabeth A. Wieneke / Ryan T. Polczynski Eric C. Straub / Matthew S. Eddy Of Counsel, Richard C. Roberts

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MA R C H/ APR I L 2020 • 65

Grace and Cate both exhibit the beautiful bond between horse and rider not only through their success in the show arena, but also through their genuine love for the majestic animals that they call their teammates.

66 • PAD U CAH L I FE

It’s no secret that competing in a sport in which you have a live animal for a teammate, with a mind of their own, is a challenge.

Other equestrians have echoed the same focus and determination it takes to communicate with your horse and perform to the best of your ability, along with the lessons one can learn from the additional responsibility it is to care for your four-legged teammate. Both Cate and Grace have put in the hours to muck stalls, clean barns, and care for the physical well-being of their horses.

Grace and Cate both exhibit the beautiful bond between horse and rider not only through their success in the show arena, but also through their genuine love for the majestic animals that they call their teammates. And when asked what they would say to young girls aspiring to ride horses, or even learn more about their equestrian art, these remarkable young ladies would say to not give up.

“We would definitely tell them to stick with it. Because it can be really discouraging at first when you see older girls doing things that you don’t know how to do yet.

And have fun. Because when it’s not fun, you don’t want to do it anymore.”

Grace and Cate train with Four Rivers Sport Horse Center and Jill O’Donoghue at Le Cheval de Boskydell in Carbondale, Illinois.

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MA R C H/ A PR I L 2020 • 67

Midtown Market is one

COOL STORE!

In response to customer requests for more COOL items, we have revamped our layout to add more refrigerator/freezer space as well as more spots for breads and bulk items. You ask. We answer. It’s the beauty of being a small, hometown market. C’mon in and hang with the COOL kids!

3000 Broadway • 444-3996

68 • PAD U CAH L I FE

Filling the

Gap H by J.T. Crawford

Murray State University Paducah Regional Campus Establishes Groundbreaking Occupational Therapy Program

I

IF YOU GO AROUND THE CLASSROOM AND talk to the Occupational Therapy students at the Murray State University campus in Paducah, you’ll find that the majority of them have traveled quite a distance to be a part of the program. They are from towns in southern Illinois and points in west Kentucky such as Owensboro and Madisonville. Then there are those who have come a bit farther— from places like Nashville and even Pittsburgh, Pennsylvania. They’ve all made their way here because they’ve discovered a hidden gem in an ever-growing profession that they love.

“I was looking online and seeing what different programs highlighted,” says Yaszmin Koter who went to the University of Pittsburgh before making the leap to Paducah. “I really liked this one. It focused on hands-on approaches and field work experiences. It was a perfect fit.”

Occupational Therapists help people overcome a myriad of problems that can hinder independence. Interventions can range from helping children with disabilities participate in school and social activities to helping a person recovering from an injury regain basic skills to ensuring older adults

Sami Horsely (seated) and McKenzie Vanvactor practice a therapeutic exercise.

remain independent despite physical and cognitive changes. It is a field with a myriad of possibilities.

“In OT, you can work with anyone at different points along a lifespan,” adds Yaszmin. “It’s constantly changing and evolving. Coming from a psychology undergraduate degree, I was surprised at how much mental health is a huge factor in this profession. Our professors have taken the time to bring that in. I like things like that.”

“The field is so broad,” adds student McKenzie Vanvactor. “There’s a lot of creativity that comes into it. It’s not just black and white. We all put our own spin on it. No two patients are the same, so you have to be innovative.”

Founded in 2018 at the Murray State Paducah campus, the program arose out of a lack of OTs in communities likes ours. “There was a need for this here,” says Dr. Sherri Powers, director of the program.“There was a needs assessment completed, and it showed what the clinicians out there already knew. OTs are hard to find, especially in more rural areas.”

Even though OTs are in high demand, the opportunities for education are sparse. “OT programs are very

MA R C H/ A P RI L 2020 • 69

H Murray State Occupational Therapy

Above Left: Ashley Crooke and Yaszmin Kotar explore how to help patients regain independence in the kitchen.

Above Right: Bailey Hopkins and Abbey Adler use resistance bands.

Below: Alex Lineberry demonstrates the use of a sock aid.

Murray State brings to the educational landscape the qualities that have always made the university a unique gem: top-level education with a small-school feel. competitive,” adds Dr. Powers. “You can have an applicant pool of 150 to 500 for just 30 open spots. They have to be top-notch students to get in. Our students might not have to wait two or three years just to get started.”

“One thing about Murray State is that applying is very personal,” adds Shandi James, an adjunct professor. “I remember applying to schools and never hearing anything back. And you couldn’t get much information or even a phone number for a follow-up. What our students are saying is that they have heard directly from the director who is guiding them.”

“Out of the five other colleges where I was interviewed, Murray State was the only one to ask me about what I thought I could contribute to the program,” says Alex Lineberry who came from Nashville. “They understood what

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I did in undergrad, helping me understand how I could become a great OT. Getting information when I was applying was also very personalized.”

“That’s what I liked,” says student Ashley Crooke. “After I submitted my application, Dr. Powers personally reached out to me to walk me through some things. I knew from then that I wanted to be accepted into this program. Once I did the video interview, I felt like I already knew everyone.”

Murray State brings to the educational landscape the qualities that have always made the university a unique gem: top-level education with a smallschool feel. There’s a personal touch along with individualized approaches for each student. For example, some students qualify for an accelerated program where they can complete the last year of a bachelor’s degree with the first year of the master’s level OT program.

The school and the initial cohort of students indeed took a risk as they began a yet-to-be accredited program in 2018. After review, full accreditation was granted in December of 2019.

That first cohort is set to graduate this May.“In the end, it’s about getting people back to leading their lives and gaining a higher quality of life,” adds Dr. Powers.

She and the MSU staff have been energized by the enthusiasm of the students and are looking forward to new groups coming in.

DOGWOOD TRAIL BIKE RIDE SUNDAY, APRIL 19 • 2:30 PM - 5 PM

Meet us for a cruise through the blooms this spring on our annual Dogwood Trail Bike Ride! Ride starts at BikeWorld parking lot.

See you there!

809 Joe Clifton Drive • Paducah, KY • 270.442.0751 • bikeworldky.com

MA R C H/ A PR I L 2020 • 71

PADUCAH LIFE Magazine

Photo Contest We want to see your take on LIFE in Paducah! Submit your photos that showcase the people, events, and places that make our river city great. The only requirements are that they simply must reflect LIFE in Paducah, they must have been taken within the last two years, and there is a limit of 3 photos per person.

The top choices will be published this spring in PADUCAH LIFE Magazine and have the opportunity to be displayed publically. 1st place receives $250. 2nd and 3rd place winners will receive prize packages from our sponsors.

Please submit your photos along with your name and phone number to jt@paducahlife.com. The deadline is March 31. Get creative!

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ACT PREP!

IMAGINE THE DIFFERENCE 4-7 POINTS CAN MAKE. JUST ASK THESE STUDENTS.

St. Mary Ramsey Collins and Vasav Rachan | Marshall County Kate Outland McCracken County Reese Hutchins, Lynae Lawrence & Jessica Stephens | Massac County Gracie Stewart Congratulations to Julianna Moore for scoring a perfect 36 on ACT Reading!

“The skills I learned in Sylvan’s Advanced Reading Skills class made all the difference.

I could immediately see the improvement in my testing and in my classwork!

Thank you, Sylvan.” — JULIANNA MOORE, PADUCAH TILGHMAN SENIOR

Advanced Reading Skills begins April 13.

June ACT Prep begins May 11.

270-554-4111

www.educate.com

ACT® is a registered trademark of ACT, Inc.

English • Math • Reading • Science Reasoning • Writing and More!

MA R C H/ A P RI L 2020 • 73

High Quality Education.

Best Value Education.

Total College Experience.

With more than 140 academic programs and nearly 180 student organizations, Racers will discover a special living and learning community — and a life-changing college experience.

There’s still time to join the Racer Family this fall.

Apply today!

Visit admissions.murraystate.edu to learn more, schedule a campus visit or apply for admission.

Equal education and employment opportunities M/F/D, AA employer.

Murray State University supports a clean and healthy campus. Please refrain from personal tobacco use.

MUR RAY • PA D U C A H • M A D I S ON V ILLE • HO PKI NSVI LLE • HE NDE R SO N • FO RT CA M PB E LL

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Governor A.O. Stanley signing a bill into law that provided state funding to West Kentucky Industrial College. Pictured behind Governor Stanley are G. P. Russell, W. W. Wilson, Dr. D. H. Anderson, and Dr. E. E. Underwood. 1918

Project SAVE H by Amy Sullivan

WKCTC is employing Archivist Leigh Ann Paxton to Store, Access, Value, and Engage

T

THE YEAR WAS 1909. DR. DENNIS H. (D. H.) ANDERSON WENT resolutely door to door, humbly seeking support for his dream – improving education and economic conditions for African Americans in Kentucky. He carefully recorded each donation, large or small, $100 or $5, in a large ledger, along with the donor’s name and address.

Nine pages of this priceless document, bequeathed to West Kentucky Technical College in 1994, epitomize the institution’s roots as one of the first African American teacher training colleges in the South. These valued pages now reside in the College Archives & Special Collections in Matheson Library.

Janett Blythe, Director of Marketing and Communications at West Kentucky Community and Technical College (WKCTC), recognized the need for

Leigh Ann Paxton, Archivist, WKCTC

MA R C H/ A P R I L 2020 • 75

Project SAVE

Images such as these early 1920s photos showing West Kentucky Industrial College class officers and honor students and students picking peas on a farm owned and operated by the college are now housed in the College Archives & Special Collections at Matheson Library.

documenting the story of D. H. Anderson and WKCTC’s beginnings as the former West Kentucky Industrial College, the third-largest African American junior college in the United States in 1938. Blythe authored three books on the institutions’ history, published in 2000, 2008, and 2016.

“The history of the technical college and Paducah Community College are really good stories, because at the heart of each is the desire to improve and help our community,” she said.

“I was fortunate to have the opportunity to share these wonderful stories, because I know there’s a lot we can learn from our past.”

West Kentucky Industrial College eventually evolved into West Kentucky Technical College. In 2003, it merged with Paducah Community College to become West Kentucky Community and Technical College (WKCTC).

D. H. Anderson’s valuable ledger pages ended up in the basement of the College’s Carson Hall, eventually becoming buried among other boxes of photographs, scrapbooks, and historical memorabilia. For more than a decade these items were exposed to unstable temperatures, pest infestations, and repeated flooding. A plethora of historical pieces were deteriorating at an alarming rate, and the history of the College was in jeopardy of being lost forever. Until recently, these items were inaccessible to the public.

In January 2018, professional archivist Leigh Ann Paxton started working as a consultant for WKCTC. She conducted an assessment of the materials at Carson Hall, under the supervision of Amy Sullivan, Director of Library Services.

Thus began Project SAVE – Store, Access, Value, and Engage – which developed into the archival program in the College Archives and Special Collections.

An initial inventory from the assessment found more than 15,000 photographs, 8,150 negatives, 400 student newspapers, 16 scrapbooks, and

The College Archives and Special Collections serves as the institutional memory of West Kentucky Community and Technical College with a mission to collect, preserve, organize, and make available permanent records of enduring historical value. Furthermore, through the collection of original materials and institutional records, the College Archives and Special Collections seeks to reflect WKCTC’s larger role within the local community and surrounding region.

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I did in undergrad, helping me understand how I could become a great OT. Getting information when I was applying was also very personalized.”

“That’s what I liked,” says student Ashley Crooke. “After I submitted my application, Dr. Powers personally reached out to me to walk me through some things. I knew from then that I wanted to be accepted into this program. Once I did the video interview, I felt like I already knew everyone.”

History revealed: Two students take a break to Murray State brings to pose for a photo with a teacher. West Kentucky the educational landscape the Industrial College baseball team, circa 1923. qualities that have always made the university a unique gem: nearly 20 boxes worth of important documents, trophies, and memorabilia. top-level education with a smallSome items suffered from mold damage and needed immediate remediation, school feel. There’s a personal while others simply needed rescuing from destructive circumstances. touch along with individualized Paxton found the scope of the project to be much larger than initially anticiapproaches for each student. For pated. She developed a database and assigned all items identifying information example, some students qualify for searchability and ease in locating materials before moving items to a safer for an accelerated program where location at the library. She quickly put the index to use when Wayne Onkst, they can complete the last year retired State Librarian for Kentucky and former Commissioner of the Kenof a bachelor’s degree with the tucky Department for Libraries and Archives, contacted Matheson Library in first year of the master’s level OT February 2018 for photos from President George H. W. Bush’s campaign visit program. to Paducah Community College (PCC) in 1992. It was fortunate Paxton had The school and the initial recently discovered these photos and was able to scan and forward them to cohort of students indeed took Onkst to be included in his book, Presidential Visits to Kentucky, 1819 - 2017. a risk as they began a yet-to-be Moving items from Carson Hall to the library, then organizing, inventoryaccredited program in 2018. After ing, and cataloging them will benefit researchers, alumni, current students and review, full accreditation was employees, and anyone seeking information about the college(s). granted in December of 2019.

Over the past two years, Paxton has established campus retention policies, That first cohort is set to graduate prepared short- and long-term recommendations for preservation, housing, this May.“In the end, it’s about and environmental conditions, and developed a plan for digitization, now in getting people back to leading its beginning stages – all working towards the ultimate goal of preserving, and their lives and gaining a higher providing public access to materials through Matheson Library. quality of life,” adds Dr. Powers.

Besides the infamous Anderson ledger, another compelling component of She and the MSU staff have been the archives and special collections are the Wilma F. Cotton Papers, 1923-1933. energized by the enthusiasm of Wilma Fletcher Cotton (1913-1999) was a student in the High School the students and are looking forDepartment of West Kentucky Industrial College during the early years of the ward to new groups coming in.

The P aduca h Sun

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Cell 270.210.1252 Office 270.442.2100

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3225 Coleman Road

Each office is Independently Owned & Operated

MA R C H/ A P RI L 2020 • 77

Project SAVE

Leigh Ann Paxton works with pages from D. H. Anderson’s ledger.

78 • PAD U CAH L I FE

Great Depression. She went on to become a long-time employee of the college and a decorated community leader.

This collection consists of photographs documenting student life as well as annual bulletins from her freshman and sophomore years.

“The materials we’ve found relating to the Industrial College are of such a tremendous consequence,” Paxton commented. “At the time, WKIC really redefined the secondary and post-secondary educational experience for African Americans in western Kentucky. Anderson’s ledger, Cotton’s photographs, and the bulletins are the only primary sources we have that tell us what that experience looked like.”

Paxton hopes to see these unique items develop into a larger collection as the community becomes more aware of the archives. Earlier this year WKCTC President Dr. Anton Reece donated a teacher’s certificate that was awarded to Virginia Kirkwood and signed by D. H. Anderson in 1924. Reece was presented with the certificate by members of the Kirkwood family at the 52nd Annual Celebration of the West Kentucky Alumni Association.

Historical pieces in the College Archives tell the story of the institutions that shaped what WKCTC is today.

Current students, alumni, and researchers who want to learn about WKCTC, particularly those from the African American community in Paducah and the surrounding region, will be able to discover memorabilia and documents that tell that story, thanks to Leigh Ann Paxton and the continued development of the College Archives and Special Collections.

Give your MOM the M

A

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gift of LIFE! Gift subscriptions online at paducahlife.com

E

WKCTC obtained a $6,000 preservation assistance grant from the National Endowment for the Humanities in December 2018, which supported the purchase of preservation and storage supplies and will fund on-site preservation workshops for the library and other college staff, who will play prominent roles in the preservation, archiving, storage, and showcasing of college historical materials. The grant ended in December, and funding is still needed to continue the program.

If you have historical items or memorabilia from any of West Kentucky Community and Technical College’s previous institutions that you would like to donate to the collection, or if you are interested in financially supporting the continuation of the archival program at WKCTC, please contact: AMY SULLIVAN, Director of Library Services, at 270-534-3171, amy.sullivan@kctcs.edu or LEIGH ANN PAXTON, Archivist, at 270-534-3174, lpaxton0005@kctcs.edu

AOIFE O’DONOVAN THE PASSING ZONE SONGS AND STRINGS Friday, March 27 7:30 p.m.

Friday, April 17 7:30 p.m.

The Passing Zone has been wowing audiences for decades with hilarious, award-winning performances. Their combination of comedy, dexterity, danger, and hilarity has audiences on their feet all across the globe. The Passing Zone saves the world from boredom by putting themselves at risk for your amusement!

O’Donovan’s honeyed vocals were featured on “The Goat Rodeo Sessions,” the Grammy-winning album

by Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile. She has collaborated with some of the most eminent names in music across a wide variety of genres from Alison Krauss to Sara Watkins and Sarah Jarosz.

Get tickets at artsinfocus.org or 270-534-3212 The Clemens Fine Arts Center is located on the campus of WKCTC. WKCTC, a proud member of the Kentucky Community and Technical College System (KCTCS), is an equal educational and employment opportunity institution.

MA R C H/ A PR I L 2020 • 79

Grill 211

MAKE

Grill 211 Is the top choice when it comes to sophisticated wining and dining in downtown Paducah.

Enjoy our relaxed atmosphere and ever-changing cocktail menu.

We feature fresh steak, seafood, and sides. Open Monday through Saturday. Don’t delay! Make your reservations today!

Come and see what we are up to at MAKE! 2020 has some new fun things in store. Create something one of a kind in our DIY paint studio that is open to the public, or join us for an art workshop.

There’s something on the calendar for adults and kids. Did you know we offer Birthday Party Packages? They’re always full of fun and creativity! Follow us on Facebook and Instagram.

Shop downtown Paducah’s newest women’s fashion and gift boutique!

We feature beautiful but affordable casual clothing, footwear, jewelry, accessories, amazing gifts, and more.

The products at The Hollyhock House are trendy and timeless, making them appealing to everyone.

Our friendly staff looks forward to styling you.

211 Broadway • 270-933-1707 www.grill211paducah.com

628 Broadway • 270.201.2474 makepaducah.com

106 Broadway • 270-557-5368 @hollyhockshop

Paducah Beer Werks

McClaran Manner Fashion Boutique

Troutt Old Time General Store & Market

It’s SPRING! And it’s time to update your closet with gorgeous new fashions and accessories at McClaran Manner.

We offer a memorable shopping experience, and believe customer service is the beating heart of our small business in downtown Paducah. Come enjoy our in-house personal styling. Look and feel confident with all the new additions to your warm-weather wardrobe.

Welcome Spring! We are very excited for our upcoming events at Troutt Old Time General Store! Our annual Spring Open House is April 2-4 and our Easter Eggstravaganza is April 11.

Be sure to go to our Facebook page for all the updated details! Shop from our large selection of springtime decor, foods, seeds and plants! Looking forward to seeing everyone!

Located in the historic Greyhound Bus Station, Paducah Beer Werks produces world class, award-winning brews and crowd-pleasing small batches.

Guest taps offer a taste of other Kentucky breweries as well as new and established craft breweries from around the world. The pub features a dynamic menu and regular performances by local and touring bands and comedians.

301 N 4th St • 270.933.1265 paducahbeerwerks.com

111 Market House Square

270.933.1397 • mcclaranmanner.com

The Hollyhock House

433 North 4th Street • 270.443.0858

trouttoldtimegeneralstoreandmarket.com

Paducah' s DELIGHTFUL

DOWNTOWNDESTINATIONS!

“English Lit” is available from Old Cove Press. To order or for more information contact: books@oldcove.com. Access Bernard Clay’s website at bernard-clay.com.

WKCTC obtained a $6,000 preservation assistance grant from the National Endowment for the Humanities in December 2018, which supported the purchase of preservation and storage supplies and will fund on-site preservation workshops for the library and other college staff, who will play prominent in the preserCritics sayroles Bernard Clay’s poetry collection vation, archiving, storage, and will “become a classic of Kentucky literature”. showcasing of college historical materials. The grant ended in Alexander H byandConstance December, funding is still needed to continue the program.

HEN THE YOUNG POET, If you have historical items or Bernard Clay, recently marked his memorabilia from any of West debut with English Lit, another star Kentucky Community and Technijoined the firmament of Kentucky litcal College’s previous institutions erature. Praise for his book from four that you would like to donate to distinguished Kentucky writers celebrate Clay’s skills. the collection, or if you are interKelly Norman Ellis is certain that Clay’s collection will ested in afinancially supportingliterature.” the “become classic of Kentucky Crystal Wilkinson continuation of the archival prolauds his “ability to slice truth down to the bone and hold WKCTC, pleaseAffrilachian contact: poet Frank X Walker itgram up toat the light.” Fellow

The

Queen’s English Being Lit

W

calls ClaySULLIVAN, one of the “nappiest voices of his generation.”

AMY Gurney Norman describes Bernard Clay as “a new force Director of Library that will be felt for years to come,” adding that the work is Services, at 270-534-3171, not only a major contribution toor Kentucky literature, but to amy.sullivan@kctcs.edu American lit as well.

LEIGH ANN PAXTON, Readers needing further proof merely need to read the Archivist, at 270-534-3174, first poem in English Lit to feel the power of Clay’s voice. lpaxton0005@kctcs.edu Born in the now demolished Southwick housing projects in Louisville’s West End, Bernard remembers the days of busing. In “Field Trip,” he recounts a trip to the zoo with

his fellow first-graders. To him, the bus ride was a “safari” through his home turf, a neighborhood “most of my classmates/ are bused to every morning.”

Excited to share his knowledge, the narrator child is the guide to this exotic world. He eagerly answers questions and even points out his home. His boyish excitement is clouded by “a collective gasp/ and pity glance.”

One of the chaperones makes it worse by saying, “I lived there too/ before this place went to hell.” The trip proceeds as planned. The kids sing typical school bus songs “like a flock of egrets/ and one crow/ until we get to where/ the real animals are.”

From start to finish, flickers of reality illuminate the poems. Paging randomly, I land on “Kinky Birthright,” where the narrator watches his sisters endure “years of third-degree/ chemical burns and scalp scabs” to straighten their hair. Thirty years later, he tells us, things have changed. His sisters no longer “singe their scalps.” Now, “they all/ wear their hair like Eve.” In “Corner Store,” the narrator evolves from being dispatched unwillingly to run errands for his mother into an eager volunteer. As he grew more streetwise, each trip offered lessons in urban geography. A “necklace of cars” lined up at the drive-thru. Men he observed were like statues kissing “paper bag medusas.” The alley was a casino. In this environment, the narrator was no longer a lone black crow.

He was a member “of a new flock/ of fructose fiends/ jittery off of jolly rancher jolts…”

In the title poem, “English Lit,” Clay takes on “conquest-thirsty cultures” whose enterprise is celebrated in literature classes where he sits “in classrooms/ full of white girls/ who aspire to be teachers/ or pontificating writers…”

He is told that his own writing attempts “should cease and desist” but he resists and rejoices as he watches “the queen’s English/ being lit.”

A self-described “griot of urban decay,” Bernard Clay kept writing because he knew he had something to say. According to his website, he has spent most of his life in Kentucky cultivating an appreciation “for the state’s disappearing natural wonders and unique but sparse urban areas.”

He earned an MFA in Creative Writing from University of Kentucky in 2017 and is a member of the Affrilachian Poets collective. No longer an urban resident, he and his wife live in Berea.

MA R C H/ A P R I L 2020 • 81

COLUMBIA THEATER Chosen for Cover of Photography Book,

The Art of Abandonment

A W

YEAR AGO, AWARD-WINNING INTERNATIONAL PHOTOGRAPHER WALTER ARNOLD

arrived in Paducah to photograph the historic Columbia Theater in majestic downtown Paducah. Of all the photographs included in this 176-page coffee table book, Paducah’s Columbia Theater was chosen to adorn the cover.

“We are blown away by having the Columbia appear on the cover of this photography book by accomplished photographer Walter Arnold,” commented Darlene Mazzone, Board Chair of the Columbia Theater Restoration Project. “Walter visited the theater over a year ago and explained that he was working on a book about abandoned places.

We never dreamed the theater would get this kind of national publicity.”

Walter Arnold is a professional fine art photographer from Hendersonville, North Carolina. For the last ten years, he has traveled the country in search of abandoned historic locations. He strives to capture the beauty and tell the stories and histories of each location that he photographs. These abandoned buildings and locations speak volumes, even in their abandoned and decaying state. Every room tells a story, and every artifact from a bygone era holds years of meaning and lost purpose. Walter searches for beauty in uncommon places and by doing so, helps to preserve the history, memory and

82 • PAD U CAH L I FE

spirit that still shine ever so faintly in the dust and decay of these modern ruins.

“Not only are there multiple photos within the 10-page layout of the Columbia included in this beautifully designed coffee table book,” Mazzone added, “there is a narrative incorporating a brief history of the building. So our story is being told

by Walter as well. Also in the book are a couple of sites he revisited after they had been restored. We can only hope that in a few years, we can call on Walter to revisit the Columbia.”

In 2015, Walter published the first Art of Abandonment photo book. Now on the ten-year anniversary of the inception of his work, he is releasing The Art of Abandonment Volume II. Traveling around the country in search of historic abandoned places, he has sought to find new and interesting locations that expand upon this theme.

The Art of Abandonment Volume II examines many intriguing abandoned places including a sports arena, an insane asylum, a water park, a historic theatre (the Columbia), and even a mansion-turned-nightclub.

The Art of Abandonment Volume II is a 176 page, 9”x12” hardcover book.

It features full-color photos and histories of sixteen different historic places (fourteen previously unpublished locations, and two locations from the original book that have been revisited after restoration).

Walter Arnold’s self-published books are now available, direct from the author, at AoABook.com. Walter’s photographs may be seen and purchased at TheDigitalMirage.com.

Walter Arnold may be reached at 828.335.3503 or via email at WalterArnoldPhotography@gmail.com

MA R C H/ A PR I L 2020 • 83

Last

word the

★

“Music shouldn’t be just a tune, it should be a touch.”

— AMIT KALANTRI

▲

SMOKIN’ BRETT RESNICK PEDAL STEEL   

The image was taken at Maiden lley Cinema in 2016 during the debut performance of western Kentucky native and merican country singer/songwriter Kelsey Waldon.

Glenn Hall is a freelance photographer based and working in the western Kentucky and southern Illinois area. lenn specializes in portrait, fine art, and documentary photography.

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PADUCAH LIFE

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PRSRT STD U.S. POSTAGE PAID PADUCAH, KY PERMIT 44

OUR 2019-2020 TEEN AMBASSADOR ALUMNI BOARD MEMBER FDIC