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Bill Pickett Rodeo Founder Dies At 76

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Lu Vason, the founder and producer of 31 year old Bill Pickett Invitational Rodeo (Courtesy of The Chicago Defender)

Lu Vason, the founder and producer of 31 year old Bill Pickett Invitational Rodeo (Courtesy of The Chicago Defender)

Lu Vason: Visionary and Producer

Special to the NNPA from The Chicago Defender

Best known for the Bill Pickett Invitational Rodeo, founder and producer Lu Vason who grew up in Berkeley, California. He moved to Denver in 1977.  Vason, who lived in Aurora and had just turned 76, died early Sunday of a heart condition, said Les Franklin, a close friend of Vason’s and the founder of the Shaka Franklin Foundation for Youth.

Like many successful people Lu Vason had a varied life, with each experience leading him to his destiny. He had established himself as an innovative leader in special events marketing. had over 40 years experience as a producer, media impresario and marketing consultant.

Before Vason got into show business, he was a beautician and barber. When he began a career as a promoter and producer, the legendary rock music promoter Barry Fey became his mentor.

Lu Vason, promoted musical artists and is credited with creating the Pointers Sisters and managing various other artists. He formed Aries Concerts and the Jazz Lives Series promoting various concerts and concert tours. He promoted performances by stars like Prince and Stevie Wonder.

Eventually, he realized that the music industry was being taken over by bigger corporations with deeper pockets and he couldn’t compete with that.

He continued to promote smaller concerts, and was working until shortly before he died.

In 1977, during Wyoming’s Cheyenne Frontier Days, Vason’s interest turned toward rodeo. His curiosity was inspired when he noted that there were no Black cowboys participating that day. He then Were people aware of the role that the Black cowboy had played in this country’s history?

At the Black American West Museum, in Denver, Vason learned of Bill Pickett, a black cowboy who created “bulldogging,” now called steer wrestling, according to the rodeo website. Pickett would ride alongside a steer, jump on its shoulders and bring the animal down by digging in his heels.

Lu Vason was convinced that the time had come to uncover the cultural past of the Black cowboy. In 1984, he created an all Black rodeo named after legendary Black cowboy, Bill Pickett, who originated “bulldogging”. Some 25 years later the Bill Pickett Invitational Rodeo is now a popular series, which reaches over 130,000 spectators annually across the United States..

“People knew the name, Will Rogers, but who they hadn’t heard of was Bill Pickett, and if they had, they didn’t know he was Black,” Vason said, according to the website.

The first Bill Pickett Invitational was held in 1984 in Denver.

“Lu was an incredible creative conceptionalist and organizer.  The Bill Pickett Rodeo is proof of his vision to see what is sustainable and  far reaching. His legacy will continue through the Bill Pickett Rodeo,” said Margo LaDrew, LaDrew & Associates who worked as a consultant for over 20 years with Mr. Vason.

Committed to the black community, especially to helping black youngsters, Vason was always around youth and children making a difference.

On Sunday, Vason’s Facebook page was filled with condolences and tributes from friends.

A funeral service is set for Friday at Shorter Community AME Church in Denver at 11:30 a.m.

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Arts and Culture

In ‘Affrilachia: Testimonies,’ Puts Blacks in Appalacia on the Map

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Author Chris Aluka. Photo courtesy of Chris Aluka.
Author Chris Aluka. Photo courtesy of Chris Aluka.

By Terri Schlichenmeyer
The Bookworm Sez

An average oak tree is bigger around than two people together can reach.

That mighty tree starts out with an acorn the size of a nickel, ultimately growing to some 80 feet tall, with a canopy of a hundred feet or more across.

And like the new book, “Affrilachia” by Chris Aluka Berry (with Kelly Elaine Navies and Maia A. Surdam), its roots spread wide and wider.

Affriclachia is a term a Kentucky poet coined in the 1990s referring to the Black communities in Appalachia who are similarly referred to as Affrilachians.

In 2016, “on a foggy Sunday morning in March,” Berry visited Affrilachia for the first time by going the Mount Zion AME Zion Church in Cullowhee, North Carolina. The congregation was tiny; just a handful of people were there that day, but a pair of siblings stood out to him.

According to Berry, Ann Rogers and Mae Louise Allen lived on opposite sides of town, and neither had a driver’s license. He surmised that church was the only time the elderly sisters were together then, but their devotion to one another was clear.

As the service ended, he asked Allen if he could visit her. Was she willing to talk about her life in the Appalachians, her parents, her town?

She was, and arrangements were made, but before Barry could get back to Cullowhee, he learned that Allen had died. Saddened, he wondered how many stories are lost each day in mountain communities where African Americans have lived for more than a century.

“I couldn’t make photographs of the past,” he says, “but I could document the people and places living now.”

In doing so he also offers photographs that he collected from people he met in ‘Affrilachia,’ in North Carolina, Georgia, Kentucky, and Tennessee, at a rustic “camp” that was likely created by enslaved people, at churches, and in modest houses along highways.

The people he interviewed recalled family tales and community stories of support, hardship, and home.

Says coauthor Navies, “These images shout without making a sound.”

If it’s true what they say about a picture being worth 1,000 words, then “Affrilachia,” as packed with photos as it is, is worth a million.

With that in mind, there’s not a lot of narrative inside this book, just a few poems, a small number of very brief interviews, a handful of memories passed down, and some background stories from author Berry and his co-authors. The tales are interesting but scant.

For most readers, though, that lack of narrative isn’t going to matter much. The photographs are the reason why you’d have this book.

Here are pictures of life as it was 50 years or a century ago: group photos, pictures taken of proud moments, worn pews, and happy children. Some of the modern pictures may make you wonder why they’re included, but they set a tone and tell a tale.

This is the kind of book you’ll take off the shelf, and notice something different every time you do. “Affrilachia” doesn’t contain a lot of words, but it’s a good choice when it’s time to branch out in your reading.

“Affrilachia: Testimonies,” by Chris Aluka Berry with Kelly Elaine Navies and Maia A. Surdam

c.2024, University of Kentucky Press, $50.00.

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Oakland Post: Week of December 18 – 24, 2024

The printed Weekly Edition of the Oakland Post: Week of December 18 – 24, 2024

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To enlarge your view of this issue, use the slider, magnifying glass icon or full page icon in the lower right corner of the browser window.

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Arts and Culture

Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

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Photo Courtesy Of Promise Marks.
Photo Courtesy Of Promise Marks.

Special to the Post

It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks

Marks, who wrote and directed the musical, also owns PM Productions.

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.”

Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.

Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.

Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.

“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.

Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.

Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.

Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.

Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.

Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.

“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”

Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.

“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”

The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.

Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”

Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”

Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”

“I’m so proud of my daughter,” said Smith.

Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.

“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.

The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com

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Bill Pickett Rodeo Founder Dies At 76

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on

Lu Vason, the founder and producer of 31 year old Bill Pickett Invitational Rodeo (Courtesy of The Chicago Defender)

Lu Vason, the founder and producer of 31 year old Bill Pickett Invitational Rodeo (Courtesy of The Chicago Defender)

Lu Vason: Visionary and Producer

Special to the NNPA from The Chicago Defender

Best known for the Bill Pickett Invitational Rodeo, founder and producer Lu Vason who grew up in Berkeley, California. He moved to Denver in 1977.  Vason, who lived in Aurora and had just turned 76, died early Sunday of a heart condition, said Les Franklin, a close friend of Vason’s and the founder of the Shaka Franklin Foundation for Youth.

Like many successful people Lu Vason had a varied life, with each experience leading him to his destiny. He had established himself as an innovative leader in special events marketing. had over 40 years experience as a producer, media impresario and marketing consultant.

Before Vason got into show business, he was a beautician and barber. When he began a career as a promoter and producer, the legendary rock music promoter Barry Fey became his mentor.

Lu Vason, promoted musical artists and is credited with creating the Pointers Sisters and managing various other artists. He formed Aries Concerts and the Jazz Lives Series promoting various concerts and concert tours. He promoted performances by stars like Prince and Stevie Wonder.

Eventually, he realized that the music industry was being taken over by bigger corporations with deeper pockets and he couldn’t compete with that.

He continued to promote smaller concerts, and was working until shortly before he died.

In 1977, during Wyoming’s Cheyenne Frontier Days, Vason’s interest turned toward rodeo. His curiosity was inspired when he noted that there were no Black cowboys participating that day. He then Were people aware of the role that the Black cowboy had played in this country’s history?

At the Black American West Museum, in Denver, Vason learned of Bill Pickett, a black cowboy who created “bulldogging,” now called steer wrestling, according to the rodeo website. Pickett would ride alongside a steer, jump on its shoulders and bring the animal down by digging in his heels.

Lu Vason was convinced that the time had come to uncover the cultural past of the Black cowboy. In 1984, he created an all Black rodeo named after legendary Black cowboy, Bill Pickett, who originated “bulldogging”. Some 25 years later the Bill Pickett Invitational Rodeo is now a popular series, which reaches over 130,000 spectators annually across the United States..

“People knew the name, Will Rogers, but who they hadn’t heard of was Bill Pickett, and if they had, they didn’t know he was Black,” Vason said, according to the website.

The first Bill Pickett Invitational was held in 1984 in Denver.

“Lu was an incredible creative conceptionalist and organizer.  The Bill Pickett Rodeo is proof of his vision to see what is sustainable and  far reaching. His legacy will continue through the Bill Pickett Rodeo,” said Margo LaDrew, LaDrew & Associates who worked as a consultant for over 20 years with Mr. Vason.

Committed to the black community, especially to helping black youngsters, Vason was always around youth and children making a difference.

On Sunday, Vason’s Facebook page was filled with condolences and tributes from friends.

A funeral service is set for Friday at Shorter Community AME Church in Denver at 11:30 a.m.

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Arts and Culture

In ‘Affrilachia: Testimonies,’ Puts Blacks in Appalacia on the Map

Published

on

Author Chris Aluka. Photo courtesy of Chris Aluka.
Author Chris Aluka. Photo courtesy of Chris Aluka.

By Terri Schlichenmeyer
The Bookworm Sez

An average oak tree is bigger around than two people together can reach.

That mighty tree starts out with an acorn the size of a nickel, ultimately growing to some 80 feet tall, with a canopy of a hundred feet or more across.

And like the new book, “Affrilachia” by Chris Aluka Berry (with Kelly Elaine Navies and Maia A. Surdam), its roots spread wide and wider.

Affriclachia is a term a Kentucky poet coined in the 1990s referring to the Black communities in Appalachia who are similarly referred to as Affrilachians.

In 2016, “on a foggy Sunday morning in March,” Berry visited Affrilachia for the first time by going the Mount Zion AME Zion Church in Cullowhee, North Carolina. The congregation was tiny; just a handful of people were there that day, but a pair of siblings stood out to him.

According to Berry, Ann Rogers and Mae Louise Allen lived on opposite sides of town, and neither had a driver’s license. He surmised that church was the only time the elderly sisters were together then, but their devotion to one another was clear.

As the service ended, he asked Allen if he could visit her. Was she willing to talk about her life in the Appalachians, her parents, her town?

She was, and arrangements were made, but before Barry could get back to Cullowhee, he learned that Allen had died. Saddened, he wondered how many stories are lost each day in mountain communities where African Americans have lived for more than a century.

“I couldn’t make photographs of the past,” he says, “but I could document the people and places living now.”

In doing so he also offers photographs that he collected from people he met in ‘Affrilachia,’ in North Carolina, Georgia, Kentucky, and Tennessee, at a rustic “camp” that was likely created by enslaved people, at churches, and in modest houses along highways.

The people he interviewed recalled family tales and community stories of support, hardship, and home.

Says coauthor Navies, “These images shout without making a sound.”

If it’s true what they say about a picture being worth 1,000 words, then “Affrilachia,” as packed with photos as it is, is worth a million.

With that in mind, there’s not a lot of narrative inside this book, just a few poems, a small number of very brief interviews, a handful of memories passed down, and some background stories from author Berry and his co-authors. The tales are interesting but scant.

For most readers, though, that lack of narrative isn’t going to matter much. The photographs are the reason why you’d have this book.

Here are pictures of life as it was 50 years or a century ago: group photos, pictures taken of proud moments, worn pews, and happy children. Some of the modern pictures may make you wonder why they’re included, but they set a tone and tell a tale.

This is the kind of book you’ll take off the shelf, and notice something different every time you do. “Affrilachia” doesn’t contain a lot of words, but it’s a good choice when it’s time to branch out in your reading.

“Affrilachia: Testimonies,” by Chris Aluka Berry with Kelly Elaine Navies and Maia A. Surdam

c.2024, University of Kentucky Press, $50.00.

Continue Reading

Activism

Oakland Post: Week of December 18 – 24, 2024

The printed Weekly Edition of the Oakland Post: Week of December 18 – 24, 2024

Published

on

To enlarge your view of this issue, use the slider, magnifying glass icon or full page icon in the lower right corner of the browser window.

Continue Reading

Arts and Culture

Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

Published

on

Photo Courtesy Of Promise Marks.
Photo Courtesy Of Promise Marks.

Special to the Post

It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks

Marks, who wrote and directed the musical, also owns PM Productions.

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.”

Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.

Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.

Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.

“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.

Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.

Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.

Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.

Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.

Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.

“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”

Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.

“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”

The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.

Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”

Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”

Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”

“I’m so proud of my daughter,” said Smith.

Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.

“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.

The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com

Continue Reading

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