JUNE 19 - JULY 2, 2023 VOL. 11 NO. 21
Tribute to Ahmad Jamal
Latrell’s Watermelon Lemonade
Photo by Vincent Hobbs Ken Makin Commentary Craig Boogie: Making Augusta Music City Poetry by James Aaron Snow Lucy Craft Laney Museum’s New Executive DirectorThirty years ago, South Central Los Angeles was on fire.
People were tired of the lack of police accountability, of Black men being beaten in the street for the world to see. People were tired of incidents such as the one which claimed the life of Latasha Harlins, where she was shot and killed over a bottle of orange juice by a convenience store worker.
The people revolted.
I never thought there would be another situation like the one which took Latasha Harlins from her family – from her community. I
was wrong, and it happened astonishingly close to home.
Fourteen-year-old Cyrus CarmackBelton was shot in the back and murdered by a convenience store worker during Memorial Day weekend in Columbia. The young boy was accused of stealing, and even if that were true, that is not a crime punishable by death.
From South Central to South Carolina, there is a brutal constant – people see Black lives as an inconvenience.
I could talk about the racial and exploitative components of capital-
ism which factor into the attitudes that allow for people to set up businesses in Black communities, yet never truly align themselves with care and compassion for their customers. The storefront is secondary here, though. What matters most is how Black people respond. We should expel any entity from our communities that don’t mean us well. That is a tough task in this country, and that is exactly my point. We must be more critical and selective when it comes to what we consume and how we consume it.
Augusta Transit this month received six (6) new diesel buses, four (4) 35ft and two (2) 29ft. These buses produced in April 2023 were manufactured by GILLIG (Livermore, California) the largest transit bus manufacturer in the nation.
Additionally, Augusta Transit is adjusting schedule timings on Route #9 Red Line/Lumpkin Rd. This change, effective from Monday, June 5,
2023, will improve bus ontime performance and reduce missed connections for transferring passengers at the Gordon Highway Transfer Point (Route #4 Purple Line/Turpin Hill & Route #6 Brown Line/Gordon Hwy). Please note, Route #9 operates Monday thru Friday only.
Further improvements on other routes will be
This is a general commentary with a specific reasoning – our very survival. The times are too perilous to willfully accept second-class citizenship. In every manner which affects our lives, we must be diligent and conscious.
Ken Makin is the host of Makin’ A Difference and a freelance writer for ESPN and The Christian Science Monitor, among other outlets. Look him up on Facebook at Makin’ A Difference, and you can also send him an email with your thoughts at makinadifferenceshow@gmail. com.
made in future as we continue add buses to our fleet and hire more bus operators, bus technicians and more.
To find a bus route near you, bus schedules and which bus gets you to your destination call (706) 821-1719 between 7 a.m. thru 7 p.m. Monday–Saturday.
Now is a great time to create a pollinator friendly yard or garden by planting with a purpose. At Fort Valley State University Extension, learn which native plants attract pollinators.
@USDA NIFA • #NationalPollinatorMonth
Ahmad Jamal, whose measured, spare piano style was an inspiration to generations of jazz musicians, died on Sunday, April 16, at his home in Ashley Falls, Mass. He was 92.
In a career that would bring him a National Endowment for the Arts Jazz Master award, a lifetime achievement Grammy and induction into France’s Order of Arts and Letters, Mr. Jamal made a lasting mark on jazz with a stately approach that honored what he called the spaces in the music.
That approach stood in marked contrast to the challengingly complex music known as bebop, which was sweeping the jazz world when Mr. Jamal began his career as a teenager in the mid-1940s. Bebop pianists, following the lead of Bud Powell, became known for their virtuosic flurries of notes. Mr. Jamal chose a different path, which proved equally influential.
The critic Stanley Crouch wrote that bebop’s founding father, Charlie Parker, was the only musician “more important to the development of fresh form in jazz than Ahmad Jamal.”
In his early years, Mr. Jamal listened not just to jazz, which he preferred to call “American classical music,” but also to classical music of the non-American variety.
“We didn’t separate the two schools,” he told The New York Times in 2001. “We studied Bach and Ellington, Mozart and Art Tatum. When you start at 3, what you hear you play. I heard all these things.”
Mr. Jamal’s laid-back, accessible style, with its dense chords, its wide dynamic range and above all its judicious use of silence, led to more than his share of dismissive reviews in the jazz press early in his career; Martin Williams’s canonical history “The Jazz Tradition” described his music as “chic and shallow.”
But it soon became an integral part of the jazz landscape. Herbie Hancock and Keith Jarrett are among the prominent jazz pianists who looked to Mr. Jamal as an exemplar.
Probably the best-known musician to cite Mr. Jamal as an influence was not a pianist but a trumpeter and bandleader: Miles Davis, who became close friends with Mr. Jamal, recorded his compositions and arrangements and would bring his sidemen to see Mr. Jamal perform. He once said, “All my inspiration comes from Ahmad Jamal.”
Jamal was born Frederick Russell Jones in Pittsburgh on July 2, 1930. Fritz, as he was called, began playing piano at age 3 and a few years later became a student of Mary Cardwell Dawson, the founder of the National Negro Opera Company. By the time
Fritz joined the musicians’ union at age 14, the celebrated jazz piano virtuoso Art Tatum had hailed him as “a coming great,” and after graduating from high school he began touring with George Hudson’s big band.
In 1950 he moved to Chicago, where he converted to Islam, changed his name to Ahmad Jamal and assembled a piano-guitar-bass trio known as the Three Strings. During an extended stay at the Manhattan nightclub the Embers in 1951, the trio came to the attention of the noted record producer and talent scout John Hammond, who signed them to the Okeh label.
In 1955 Mr. Jamal recorded his first full-length album, “Ahmad Jamal Plays,” with the guitarist Ray Crawford and the bassist Israel Crosby, for the small Parrot label. Tellingly, when the album was acquired and rereleased the next year by Argo, a subsidiary of the seminal blues label Chess, it was retitled “Chamber Music of the New Jazz.”
Mr. Jamal received his first major national exposure with the Argo album “At the Pershing: But Not for Me,” recorded at a Chicago nightclub in 1958 with Mr. Crosby and the drummer Vernel Fournier.
The success of “At the Pershing” stemmed in part from Mr. Jamal’s ambling yet propulsive interpretation of the standard “Poinciana,” still his best-known recording.
Mr. Jamal’s output was as prodigious as his light-fingered style was economical: He released as many as three albums a year in the late 1960s and early ’70s, and more than 60 in his career.
He also founded a handful of record labels, a management company and a Chicago nightclub and restaurant called the Alhambra.
Live recordings often captured Mr. Jamal at his nimblest, and many jazz connoisseurs rank such albums as “Freeflight” (1971), recorded at the Montreux Jazz Festival, and “Chicago Revisited: Live at Joe Segal’s Jazz Showcase” (1993) among his best.
In 2011, Mosaic Records released a nine-CD boxed set consisting of the 12 albums he recorded for Argo between 1956 and 1962. His album “Blue Moon,” a well-received collection of originals and standards, was released in 2012 and nominated for a Grammy Award. His last two albums were recorded in 2016 and released as “Marseille” in 2017 and “Ballades” in 2019.
Last year, Mr. Jamal released two separate double-disc collections: “Emerald City Nights: Live at the Penthouse (1963-64)” and “(1965-66),” consisting of previously unreleased live recordings made in Seattle. A third set, “(1966-68),” is planned.
The reverence with which Mr. Jamal
was held stretched well beyond the jazz world. Clint Eastwood used two tracks from “But Not for Me” on the soundtrack of his film “The Bridges of Madison County.”
But the more extensive tributes have come from the world of hiphop. Tracks like De La Soul’s “Stakes Is High” and Nas’s “The World Is Yours,” along with dozens of other rap songs, have sampled Mr. Jamal’s
piano riffs.
All told, for a pianist who started playing at 3, music was truly his lifelong pursuit, spanning almost 90 years. And he was always looking ahead.
“I’m still evolving,” Mr. Jamal told The Times in a phone interview last year, not long after turning 92. “Whenever I sit down at the piano, I still come up with some fresh ideas.”
phenomenon. Its fame and popularity spread like wildfire. It topped America’s jazz charts for months and established a 107-week residence in Billboard’s album charts. It sold over one million copies and is still selling.
The record certainly changed Jamal’s life, transforming the then 28-year-old into a household name. “I could write volumes about that,” laughs Jamal. “Life changed and it’s constantly changing as a result. It’s been the thing that has paid the bills for the last 61 years,” Jamal told an interviewer in 2020.
At The Pershing: But Not For Me, was recorded for Chess’ jazz imprint, Argo. It captured Jamal’s then trio (with Israel Crosby on bass and Vernell Fournier on drums) during their residence at The Pershing Hotel in Chicago during January 1958.
At The Pershing: But Not For Me was much more than a record: it was a
Central to At The Pershing’s appeal was the song “Poinciana,” an exotic and haunting slow ballad written by Nat Simon and Buddy Bernier in 1936.
“Not often do we have instrumental hits, but ‘Poinciana’ is still being emulated,” says Jamal. “That particular record has been plagiarised and copied by many. It transcended all categories.”
Many people associate Nashville with country music, but there’s more to the story. There are three main reasons Nashville is called Music City. The city itself has a deep musical history, the presence of the music industry and its live music scene and venues, not to mention the various genres of music that thrive in this city. The Music City moniker was coined over a century ago and is still an accurate representation of the city today. Nashville’s passion for music has led to its creation of Music City Scale, making it a must-visit destination for aspiring musicians from all over the world.
Music has been a part of Nashville’s culture for over two centuries. Back in the late 1700s, the city was already known for its fiddle tunes and buck dancing. The city’s musical significance began to gain recognition in 1824 with the publication of a hymnal called Western Harmony, which was published in Nashville. The hymnal’s popularity quickly spread, setting the scene for Nashville’s later musical significance. In 1873, Queen Victoria declared that a band of musicians from Fisk University must have come from “the Music City,” meaning Nashville. There is some dispute over whether this statement was ever truly made, but the name stuck, and Nashville was unofficially the US’s Music City by the 1950s.
In the early 1900s, Nashville’s music scene began to grow as record labels opened offices and radio stations broadcasted live music. The Grand Ole Opry, a weekly country music radio show that began in 1925, helped establish Nashville as the home of country music. Augusta may not have the same level of recognition as Nashville when it comes to music, but the city has a rich musical history. Augusta is the birthplace of James Brown, the “Godfather of Soul.” In the 1960s, Augusta became a stop on the Chitlin’ Circuit, a network of venues that showcased African American musicians. This circuit was crucial to the development of soul and R&B music in the United States.
Today, Nashville remains a music hub and attracts musicians from all over the world. The city is home to a wide range of music venues, from small clubs to large arenas, and hosts numerous music festivals throughout the year. The most well-known venue in Nashville is the Ryman Auditorium, which was the original home of the Grand Ole Opry. The Ryman hosts concerts year-round and is considered one of the most iconic music venues in the world. Augusta may not have the same number of music venues as Nashville, but the city has a vibrant music scene. The James Brown Arena is the largest music venue in Augusta and hosts concerts by a wide range of musicians. The Bell Auditorium, another popular venue, is home to the Augusta Symphony and also hosts concerts. In addition to these venues, we have several music festivals, including the Westobou Festival, which showcases a range of artistic disciplines, including music, dance, and visual arts.
One of the most significant differences between Nashville and Augusta is the genres of music that each city is known for. Nashville is primarily associated with country music, but the city is also home to a thriving rock scene, with bands such as Kings of Leon and The Black Keys calling Nashville home. In addition, Nashville has a strong gospel and blues tradition, with musicians such as B.B. King and Mahalia Jackson recording music in the city. Augusta, on the other hand, has a rich history in soul and R&B music, thanks to its association with James Brown. Brown’s music and influence can still be felt in Augusta today, with several local musicians citing him as an inspiration. In addition to soul and R&B, Augusta
has a growing hip-hop scene, with several local artists gaining national recognition in recent years.
Nashville has a vibrant live music scene, with numerous venues and clubs that showcase local and national artists. The city is also renowned for its honky-tonk bars, where visitors can enjoy live country music performances. Throughout the history of the city, many music venues have been added to the landscape. These venues give the city a good reason to remain known as the “Music City.” Here are some of the most famous music venues in Nashville:
1. Ryman Auditorium - Often called the Church of Country Music, Ryman Auditorium attracted performers such as Dolly Parton and Hank Williams, bringing Nashville into the spotlight for country music fans everywhere.
2. The Bluebird Cafe - This small club has been a mecca for songwriters for over 35 years. The intimate setting allows performers and audience members to connect in a way that’s rare in larger venues.
3. The Station Inn - This bluegrass venue has been a staple in Nashville’s music scene since the 1970s. It’s a favorite among locals and visitors alike.
4. Tootsie’s Orchid Lounge - This honky-tonk bar has been a fixture in Nashville since the 1960s. Legends such as Patsy Cline and Willie Nelson used to play here before they were famous.
Nashville’s music scene has evolved over the years. While the city is still most famous for its roots in the country genre, the current music scene is modern, diverse, and filled with young talent. Nashville has attracted modern musicians from a variety of backgrounds in recent years. The city’s blend of modern flair with American
music history makes it a unique destination that attracts visitors from all over the world. Nashville is home to major record labels, music studios, and publishing companies that have helped to establish the city as a center of music production and distribution. I don’t believe there are many businesses or institutions in this city that are the level of even a mid major label, distribution , publishing company or anything geared towards the education on the business of music. That is a significant part of the progress needed in order to make a career in this industry. Businesses and organizations There are a number of businesses and organizations in Nashville that support independent artists. These businesses may offer discounts or free services to independent artists, or they may provide them with resources and support. There are also a number of organizations in Nashville that are dedicated to helping independent artists, such as the Nashville Songwriters Association International and the Americana Music Association.
The city of Nashville and the state of Tennessee offer a number of programs to support independent artists. These programs may provide financial assistance, marketing support, or other resources.
We here in Augusta need artists to be cultivated and aware of the business that is a central part of the music scene, but who’s supposed to take the helm of that task? The artists? Investors? Business entities? That’s just it…it has to be a concerted effort of those I just mentioned and the community. If artists don’t have a foundation to build from, how do they stand a chance to even start to make a living as an artist? I know its a lot of questions but I know and feel that the answers are right in front of our faces.
Before I go I would like to make a correction. I made mention of a proposed music academy and studio space in my last article and I want to correct what the intent of that was. I wanted to convey that doing a space like that for the general public to participate in, especially in the downtown area would be a great addition to the city. As always I welcome your feedback, comments and ideas. Reach out to me at preneur.ai/OmniMedia
We here in Augusta need artists to be cultivated and aware of the business that is a central part of the music scene, but who’s supposed to take the helm of that task?Country music bars on Nashville’s Broadway.
6th Annual Sand Hills Community Center Summer Youth Program in 2 one-week sessions from June 12-16 & June 26 – 30; Creative and Program Director legendary ballerina Karen Brown and team to conduct FREE In-person and Hybrid classes with noted instructors
Again, Augusta native Karen Brown, legendary ballerina formerly with Dance Theatre of Harlem who is the founder of En Pointe Plus Dance Mastery Institute and her team will conduct the free in-person and hybrid 6th Annual Sand Hills Community Center Summer Youth Program in 2 daily separate sessions from June 12-16 and June 26-30 scheduled from 1:00 p.m. to 7:00 p.m. at the center located at 2540 Wheeler Road in Augusta, GA, and Friday fun, celebratory culminating events are on June 16 and June 30 from 5:00 p.m. to 6:30 p.m.
Presented by Karen Brown and the En Pointe Plus Dance Mastery Institute Painting, Singing, Dancing, Financial Literacy & Athletic Training
For Girls and Boys Ages 10-14
6th, 7th & 8th Grade
AWARDS and PRIZES! LUNCH & SNACKS DAILY! IN-PERSON & HYBRID!
Featuring instructors Karen Brown, Baruti, Pepper, Funmi, and Russell Joel Brown
6th Annual Sand Hills Community Center Summer Youth Program
Sand Hills Community Center, 2540 Wheeler Rd., Augusta, Georgia 30904
Week 1: June 12 – June 16, 2023
Week 2: June 26 – June 30, 2023
Monday through Friday: 1:00 PM – 7:00 PM
Made possible by a collaboration with the City of Augusta, the Richmond County Board of Education, Contemporary Ballet Theatre, the Augusta Commission with the Augusta Recreation and Parks Department REGISTER AT augustaga.gov/sandhillssummercamp
Info: (706) 842-1912 or sandhillssummeryouthcamp@gmail.com
Again, the successful arts enrichment program in its sixth year was created to aid youth in the Sand Hills neighborhoods and again is sponsored by the City of Augusta, the Richmond County Board of Education, Contemporary Ballet Theatre, the Augusta Commission and the City of Augusta Recreation & Parks Department.
This program is designed for students from ages 10 to 14 that are 6th, 7th and 8th graders to experience painting, writing, dancing, singing, financial literacy, and athletic training. Throughout the program there will be awards, prizes, t-shirts and daily lunch and snacks. Online registration is required by going to augusta.gov/sandhillssummercamp and parents or guardians and the participants need to attend the information seminar Zoom calls on Thursdays; May 25, June 1 and June 8.
The students will be taught by several renowned instructors such as Karen Brown, Baruti, Pepper, Funmi and Russell Joel Brown.
“Again I’m grateful to have the opportunity again to fulfill our vision of this program for the sixth time which so positively impacts a growing number of students in the Augusta community and we target a proven underserved population,” said Karen Brown, Creative and Program Director of the 6th Annual Sand Hills Community Center Summer Youth Program. “And we’re so pleased that our city and county sponsors return to continue supporting the summer youth program in a seamless manner as possible,” adds Ms. Brown.
Karen Brown, is a native of Augusta, Georgia who spent 22 years as a Principal Ballerina touring the world as a featured artist, master teacher and lecturer with the Dance Theatre of Harlem, an international ballet company that was under the direction of the company’s founder, the late Arthur Mitchell. She’s had a long career of teaching in the dance world, being a dance administrator and she has received numerous awards. In fall 2020, she was hired as a new Assistant Professor of Ballet at the University of Missouri Kansas City Conservatory. Please go to www.karenbrowndancemastery. com for more details about her dance career, teaching and performing around the world.
Submitted by Adrienne D. Warren, Karen Brown Marketing Consultant and Publicist
In April of 2023 he was named Executive Director of the Lucy Craft Laney Museum of Black History.
Corey Rogers is a native of Augusta, Georgia and a proud 1992 graduate of Davidson Fine Arts Magnet School. He earned a B.A. in History from South Carolina State University and a M.A. in History from Georgia Southern University. From 1999-2004 he taught in the Richmond County Public School System. From 1999-2019 he taught History at Paine College.
For 19 years he served as the Historian at the Lucy Craft Laney Museum of Black History. In more recent years he has served as a voting member of the Public Art Advisory Panel for the Greater Augusta Arts Council and continues to work closely with the Arts Council through the Golden Blocks Public Art Project. He is the former Chairman of the Georgia
In January 2022 he was elected to the Board of Directors for Destination Augusta and in January 2023 he was elected to the Board of Directors for Historic Augusta, Incorporated.
Currently he teaches a course at USC Aiken and is working on several historical initiatives in Augusta to include the Justine and Isaiah “Ike” Washington Endowment Fund and legacy quilts, a partnership between Augusta University and the Laney Museum; the Golden Blocks Legends Comic Book Series, a partnership between Augusta University, the Laney Museum and several Augusta artists; and a freedom trail, which will use a combination of historic buildings, local and state historic markers and public art to highlight the history of civil rights in Augusta from the Colonial period to the present.
UPW: As an educator, how do you feel about the current challenges to the value of Black History in the classroom?
ROGERS: Many of the challenges to African American History in the classroom remind me of how important institutions like the Lucy Craft Laney Museum are. Beyond many of the current challenges to teaching history, traditionally there have been limitations to what you can teach in a classroom because there is a finite amount of time to teach and often teachers are asked to focus their energy on passing a test. Museums and other cultural institutions give both educators and the public at large the opportunity to experience history with less of a filter that is often applied in public school settings.
UPW: Do you think that presentations like the 1619 Project or the 1970 Augusta Riots are too controversial for American students?
ROGERS: No, I don’t think they are too controversial. For much of the 50 years since the events of May 11th and 12th, there has been very little done to expand the narrative surrounding the riot. In the past three years that has changed. I am a native Augustan and I knew nothing of the Augusta Riot until an interview I did with Grady Abrams while in graduate school in 1998. Students are much more sophisticated and knowledgeable than we give them credit for. I believe that a subject like the 1970 Augusta Riot is perfect as a standard part of the 8th grade Georgia Studies curriculum.
UPW: The Laney Museum has always had a strong presence in the community, hosting programs for the youth as well as senior citizens. Why is that connection to the community so important?
ROGERS: That connection to the community is so important for the Laney Museum because it allows us to carry forth the legacy of Lucy Craft Laney, who had a strong connection and presence in Augusta. It’s not enough for us just to be a museum. But in keeping with the spirit of what Lucy Laney stood for, we maintain an ever-growing presence in the community through our student programs, oral history initiatives and monthly luncheons. This is how to best promote the legacy of Lucy Craft Laney.
UPW: Can you tell us something about the Reverend C.T. Walker and why he interests you as a researcher.
ROGERS: C.T. Walker led a full life. He preached at many different churches and traveled the world. He knew individuals like Booker T. Washington and John D. Rockefeller. The richness of his biography keeps me wanting to dig more and more into who he was. I am also intrigued by his relationship with the Reverend Silas X. Floyd, a powerhouse combination of leadership and entrepre -
Woman of Color, Daughter of Privilege: Amanda America Dickson, 1849-1893, Dr. Kent Anderson Leslie;
Segregated Doctoring: Black Physicians in Augusta, 1902-1952, Dr. Leslie J. Pollard, Sr.;
Old Springfield: Race and Religion in Augusta, Georgia, Dr. Ed Cashin;
The First Black Archeologist: A life of John Wesley Gilbert, Dr. John W.I. Lee
The Short Stories of Frank Yerby, edited by Veronica T. Watson
neurship in Augusta.
UPW: How did the Black Caddies project come about and why is it so unique?
ROGERS: The Laney Museum’s project on the African American caddies of the Augusta National came out of an idea about 1.5 to 2 years ago when Leon Maben, upon seeing an exhibit in Louisville, Kentucky on the Black jockeys of the Kentucky Derby, thought that Augusta, Georgia had just as rich of a story to tell in the
the general public is aware of their existence. Can you forecast what might be in store for the Augusta area in the next few years when it comes to promoting its cultural heritage?
ROGERS: One of the best projects I have worked on in recent years is the Golden Blocks Public Art Project along and near Laney-Walker Boulevard. The Golden Blocks traditionally refers to the African American business district at the confluence of Campbell and Gwinnett Streets.
the museum. This additional space will allow us to have a gift shop, welcome center, expanded archival space, and other things that will allow for us to better serve the River Region population.
UPW: What are in the plans now for the next few years?
form of the African American caddies of the Augusta National. Since then we have created a 1.5-hour experience that takes the patron through decades of rich history about Augusta and the world of golf. The actors in Men on the Bag come under the artistic direction of the Augusta Mini Theater. At the end of the presentation at least one of our living legend caddies comes out to take questions from the patrons. Finally, we serve pimento cheese sandwiches, lemonade and sweet tea.
UPW: As a board member and consultant to many local organizations you have insight into many plans and civic campaigns before
The Public Art Project, which is a partnership between the Laney Museum, the Greater Augusta Arts Council and Augusta Housing and Community Development, allows us to marry public history and public art to tell the many amazing stories that makes Augusta second to none in Georgia.
UPW: What would your 20-yearplan look like for the museum if the level of funding were available?
ROGERS: I would love to add an additional building that would allow for us to have additional exhibition space. We want to create a Men on the Bag permanent exhibition at
ROGERS: In the next few years we plan to continue to do some of the programming that has made us one of the crown jewels of the River Region: our monthly community luncheons, Historian Awards Program, Black History Quiz Bowl, Brunch with Santa, Summer Camp, and bringing new exhibitions to our conference room. One new initiative that we are really excited about is a partnership between the Laney Museum, Augusta University School of Education, the AU Literacy Center at the HUB and several local artists to create a series of comic books based around important historical figures in Augusta History. The series is called the Golden Blocks Legends comic books and the first one is Lucy Craft Laney.
UPW: What’s going on at the Museum this Summer?
ROGERS: This summer we have the Men on the Bag experience. The next two shows are July 22nd and 23rd, both at 3:00 p.m. To book tickets for Men on the Bag go to www. lucycraftlaneymuseum.com and click on the link for Men on the Bag. We are in our first week of summer camp. The summer campers have classes in art, sign language and are paid a visit by the ecology lab, which allows them to experience many of the animals indigineous to the state of Georgia. We have our monthly community luncheons and our weekly museum tours. On August 26th the Laney Museum will be sponsoring a bus trip to the International African American Museum in Charleston, South Carolina.
The Public Art Project, which is a partnership between the Laney Museum, the Greater Augusta Arts Council and Augusta Housing and Community Development, allows us to marry public history and public art to tell the many amazing stories that makes Augusta second to none in Georgia.
Museums and other cultural institutions give both educators and the public at large the opportunity to experience history with less of a filter that is often applied in public school settings.
Live your best life! That is my motto. My name is Menia L. Chester, I am a chef and owner of Desserts by Latrell and Southern Jazz and Sweets. My goal is to teach you about food, finance, anything about the home, gardening, and healthy living.
Eating healthy in the summer can be easy because there is an abundance of fresh fruit and vegetables. Knowing how to select tasty produce is a learned art. Some of them are easy because you can see and smell the ripeness of them. However, selecting a sweet watermelon is different. Some people thump them, shake them and they look at the blossom end for signs of ripeness. These methods are good but here are some other ones to try.
Find the yellow belly, or the field spot
This is the spot on a melon that shows where it was laying on the ground while attached to the vine. If the watermelon is ripe, you should see yellow patch on one side of the melon. The bigger the yellow spot and the creamier the color means the more time the melon spent ripening on the vine. However, if the spot is smaller or looks more white than yellow, then the melon may not be quite ripe.
Tap the underbelly and listen for a deep sound
Another way to find a ripe watermelon is to lightly tap the outside of the melon. A ripe melon will have a deeper sound, as opposed to an overripe one that will have a more hollow or flat sound. A duller, more hollow sound can mean the flesh is starting to go soft and it may be spoiled.
A watermelon is almost 92% water, this is what makes them so juicy. A heavier melon likely holds more water, which will make it juicier.
Try this twist on lemonade using watermelon.
Lemonade
INGREDIENTS
1/2 cup lemon juice
2 1/2 cups water
2/3 cups simple syrup
(sugar and water mixture)
2 cups watermelon chunks
Place all the ingredients in a blender and blend until smooth. Serve over ice with a sprig of mint or rosemary.
If you have questions, would like to see other recipes, or would like to learn about events by Latrell, please visit my website and send an email via the contact form.
www.southernjazzandsweets.com
African Americans earn approximately 1.3 trillion dollars annually in the United States and over 80% of what we earn and spend goes into the hands, pockets, and bank accounts of another race of people. Why?
It is my honor to engage in a nonviolent economic war between African Americans and every other race of people living in the United States and across the world, in favor of African Americans without throwing one punch or shooting one bullet.
Please, come and go with me on a short journey and allow me to share some information with you related to urban revitalization and farming.
In 1967 the Rev. Dr. Martin Luther King, Jr. made a speech entitled “The Second Phase of the Civil Rights Movement,” recorded in Atlanta, Ga.
He specifically indicated that “no other race of people except African Americans or ethnic group had to face slavery on American soil and how America made the Negro’s color a stigma.”
Dr. King mention in this recording how “ America freed the slaves
Keynote: Friday, July 7 at 6:00 p.m. Workshops: Saturday, July 8 from 10:00 a.m. to 12:00 p.m.
Mark your calendars for this important two-day event to be held at the Springfield Baptist Church in beautiful downtown Augusta, Georgia.
On Friday, Dr. Déanda Johnson will give a keynote to open the two-day event followed by Saturday workshops with:
•Dr. Steven Berry, University of Georgia, Athens, GA
•Robin Waites, Director of Historic Columbia Foundation, Columbia, SC
•Christopher Barr, Reconstruction Era National Historic Park, Beaufort, SC
•Dr. Valinda Littlefield, University of South Carolina, Columbia, SC
The event is free, but please RSVP HERE to save your seat! Scroll down on the ticket page and to us know if you’d like to enjoy a free lunch on Saturday. The lunch is available to the first 75 registrants, so don’t be late!
in 1863, gave the slaves no land or nothing or nothing to get started, but at the same time was giving away millions of acres of land.in the west and the mid-west to the White peasants from Europe to establish an economic base.”
I am mentioning the topic about farmland in this newsletter because many people might not have heard about the discrimination lawsuit filed by Black farmers against the United States Department of Agriculture. Even though the lawsuit was filed about 20 years ago black farmers are being rewarded today for the setback. This atrocious act of discrimination performed by the USDA had a fractional impact on the wealth-gap between African Americans and other races of people in the United States from the corner store to the supermarket.
Accumulatively the small amount of farmland that our African American farmers do own and cultivate the United States our government treated them unjustifiably pertaining lending and borrowing federal grants and caused many of them to lose their
land.
In my previously newsletter I emphasized on the fact of how important it is for young African Americans to learn the residential and commercial building trade, in which I am initiating a 300-billion-dollar urban revitalization project that involves teaching building skills (OJT) to the less fortunate unemployed Americans in urban America of all races.
Learning the farming trade is just as important as the building trade and is very profitable because we need to grow and manufacture the food we eat including livestock right here in the United States.
There are approximately 2 million farms in the United States and African Americans farmers make up less than 1% of that number.
How many of our Historical Black Colleges and Universities teach agriculturalism? Out of approximately 107 HBCU’s, the only one I can think of is Fort Valley State University located in Fort Valley, Ga. We need to come up with a plan of action immediately to increase African American farms and
farm workers in the United States.
It’s a shame that white supremacy is the number one threat in America today which is a form of mental illness, which activates hate crimes and racial disparity. And what makes this situation so detrimental to our country is when white supremacist is elected to public office on the municipal, county, state, and federal level, they implement acts of discrimination. Why would anyone want to stop farmers from growing food with all the hungry and starving people in the world.
We can’t turn back the hand of time, but we can press on to make life better for ourselves and our children.
When I sit down at the dinner table to eat or open a can of vegetables, I would like to know that everything I consume and digested was grown and raised by African American Farmers. Let’s keep that money circulating within our race.
Melvin Lorenzo Kelly, The African American Business ProjectPreparing to cross the finish line, my mind wanders back.
Not to every step I’ve taken, but every step I’ve forsaken. Roles, jobs, titles, honors. Set aside to achieve. For what good is a shelf overflowing when the desired trophy is missing?
But this was no easy task, at first. Sense of self, interwoven with outward. The revealing question of, “Who am I without...?” I have been without. Without job. Without school. Without a defined future. Without human contact. Without housing. Without trust. Without inward belief. All of the questions required answers. Or consumption. I laid bare upon the fires. Until content with who I am. Individual. Husband. Furry father. Friend. Family member.
And as I cross the finish line I glance over to see all I let go, celebrating from the sideline.
By James Aaron Snow 6/7/23Commission agreed to approve Augusta-Richmond County FY24 Capacity Agreement for State Inmates to be housed at the Richmond County Correctional Institution.
Augusta-Richmond County con-
tracts with the Georgia Department of Corrections to house Two Hundred Thirty (230) non-violent state inmates. Inmates perform skilled/non-skilled labor in various city departments. The Georgia Department of Corrections pays
the City of Augusta a per diem of Twenty-two ($22.00) per day per inmate. The inmates supplement the City of Augusta’s workforce. The revenues received from the state of Georgia are approximately (45%) of the department’s annual budget.
Under the city’s current ordinance, Animal Services takes in over 2,000 cats annually and euthanizes approximately half of them. Furthermore, Best Friends Animal Society would fund the Community Cats pro -
Keynote: Friday, July 7 at 6:00 p.m. Workshops: Saturday, July 8 from 10:00 a.m. to 12:00 p.m.
FREE to the public
Mark your calendars for this important two-day event to be held at the Springfield Baptist Church in beautiful downtown Augusta, Georgia.
On Friday, Dr. Déanda Johnson will give a keynote to open the two-day event followed by Saturday workshops with:
• Dr. Steven Berry, University of Georgia, Athens, GA
• Robin Waites, Director of Historic Columbia Foundation, Columbia, SC
• Christopher Barr, Reconstruction Era National Historic Park, Beaufort, SC
• Dr. Valinda Littlefield, University of South Carolina, Columbia, SC
The event is free, but please RSVP HERE to save your seat! Scroll down on the ticket page and to us know if you’d like to enjoy a free lunch on Saturday. The lunch is available to the first 75 registrants, so don’t be late!
We hope you join us for this community event at the historic Springfield Baptist Church.
gram for three years. With the amendment on June 6, 2023, the department anticipates a reduction in intake and euthanasia numbers, resulting in fewer staff hours allocated for cat care, complaints, and euthanasia.
• David M. Barbee, Sr., has been selected to serve on the Historic Preservation Commission, representing District 6.
• Deke Copenhaver, Collette D’Antignac, Greg Hill, and Cory Johnson have been appointed to Augusta Economic Development Authority.
• Reginald B. Forrest has been appointed to the Augusta Richmond County Board of Zoning and Appeals, representing District 6
• Carletta W. McGruder has been appointed to the Augusta Richmond County Library Board of Trustees, representing District 6.
RICHMOND COUNTY BOARD OF EDUCATION Meadowbrook Elementary School HVAC Project Bond Issue Program PROPOSAL NUM. B-21-022-0177
Sealed proposals from Contractors will be received for the Meadowbrook Elementary HVAC Project by the County Board of Education of Richmond County at the Board Conference Room, Richmond County Board of Education, 864 Broad Street, Augusta, Georgia 30901 until 3:00 p.m. local time, July 11, 2023, at which time the bids will be publicly opened and read. No extension of the bidding period will be made.
A Pre-Bid Conference will be held June 20, 2023, at 10 am local time at the project site, 3630 Goldfinch Drive, Augusta, GA 30906
Drawings and project manual on this work may be examined at the Dep artment of Maintenance and Facilities, Richmond County Board of Education, 2956 Mike Padgett Highway, Augusta, Ga 30906
Bidding documents may be obtained at the Office of the Architect: Delta Engineering Group, LLC, 3604 Wheeler Rd. Suite C; Augusta, GA - Office (706) 364-1770 Applications for documents together with refundable deposit of $150 per set should be filed promptly with the Architect. Bidding material will be forwarded (shipping charges collect) as soon as possible. The full amount of deposit for one set will be refunded to each prime contractor who submits a bona fide bid upon return o f such set in good condition within 10 days after date of opening bids. All other deposits will be refunded with deductions approximating cost of reproduction of documents upon return of same in good condition within 10 days after date of opening bid.
Note that digital copies of documents shall be available at no charge.
Contract, if awarded, will be on a lump sum basis. No bid may be withdrawn for a period of 35 days after time has been called on the date of opening.
Bid must be accompanied by a bid bond in an amount not less than 5% of the base bid. Personal checks, certified checks, letters of credit, etc., are not acceptable. The successful bidder will be required to furnish performance and payment bonds in an amount equal to 100% of the contract price.
The Owner reserves the right to reject any and all bids and to waive technicalities and informalities.
To promote local participation, a database of Sub-contractors, Suppliers, and Vendors has been developed by the Program Manager, GMK Associates Contact Jeanine Usry with GMK Associates at (706) 826-1127 for location to review and obtain this database.
Bids shall be submitted and addressed to:
Dr. Kenneth Bradshaw County Board of Education of Richmond County Administrative Office
864 Broad Street Augusta, Georgia 30901
c/o: Mr. Bobby Smith, CFO, CPA
Bond Issue Program
GRACEWOOD ELEMENTARY SCHOOL HVAC AND ROOFING
Sealed proposals from Contractors will be received for the Gracewood Elementary School HVAC and Roofing Project (B-021-017-4054) by the Richmond County School System at the address below until 3:00 p.m. local time, July 13, 2023 , at which time the bids will be publicly opened and read. No extension of the bidding period will be made.
A Pre-Bid Conference will be held June 22, 2023 at 10:00am local time at Gracewood Elementary School, 2032 Tobacco Road, Augusta, Georgia 30906
Drawings and project manual on this work may be examined at the Department of Maintenance and Facilities, Richmond County Board of Education, 2956 Mike Padgett Hwy , Augusta, Georgia 30906
Bidding documents may be obtained at the Office of the Architect: Woodhurst Architects, LLC, 614 Scotts Way, Augusta, GA 30909, clint@woodhurstarchitects.com or by calling Clint Humphreys at 706-910-8655 Applications for documents together with refundable deposit of $ 200 per set should be filed promptly with the Architect. Bidding material will be forwarded (shipping charges collect) as soon as possible Electronic documents are available upon request and upon receipt of deposit The full amount of deposit for one set will be refunded to each prime contractor who submits a bona fide bid upon return of such set in good condition within 10 days after date of opening bids. All other deposits will be refunded with deductions approximating cost of reproduction of documents upon return of same in good condition within 10 days after date of opening bid.
Contract, if awarded, will be on a lump sum basis. No bid may be withdrawn for a period of 35 days after time has been called on the date of opening.
Bid must be accompanied by a bid bond in an amount not less than 5% of the base b id. Personal checks, certified checks, letters of credit, etc., are not acceptable. The successful bidder will be required to furnish performance and payment bonds in an amount equal to 100% of the contract price.
The Owner reserves the right to reject any and all bids and to waive technicalities and informalities.
To promote local participation, a database of Sub-contractors, Suppliers, and Vendors has been developed by the Program Manager, GMK Associates. Contact Jeanine Usry with GMK Associates at (706) 826-1127 for location to review and obtain this database.
Bids shall be submitted and addressed to:
Dr. Kenneth Bradshaw
Richmond County School System Administrative Office
864 Broad Street
Augusta, Georgia 30901
c/o: Mr. Bobby Smith, CFO, CPA
AUGUSTA
The Richmond County School System will host a series of job fairs to recruit employees for open positions on Wednesday, July 12. Recruiters and hiring managers will be on-site to conduct interviews and discuss open positions.
“We are looking for some talented and dedicated individuals to join our high-performing workforce to support the educational offerings and resources required to educate more than 30,000 students. Our employees are eligible for excellent benefits, and we offer professional development and a collaborative work environment,” says Dr. Cecil Clark, Richmond County School System Chief Human Resources Officer.
The Walk-In Wednesday job fair will be held at our Central Office, 864 Broad St., from 9 a.m. – 12 p.m.
To view the complete list of openings, visit our website at rcboe.info/Work4RCSS.
