SHADOW BALL: Learning More About Negro League History

April 28, 2026

This column exists for only one purpose; that is to answer your questions on Negro League baseball history. To that end, I need your help … if you are reading this column and enjoy it and want it to continue and you do not already know everything about Negro League history … then please submit a question on any aspect of Negro League history. Your questions are the lifeblood of Shadow Ball—they shape where we go next … players, teams, events, and more – and, in so doing, you will direct where this column goes moving forward. Your participation is important and appreciated. The very existence of this column depends on you. Submit your questions to shadowball@truthseekersjournal.com.

Freddie Oliver of McKeesport, PA, posed the following question for me this week: who were the best umpires in the Negro Leagues?

Not sure I am qualified to rank ‘em but after Rube Foster’s decision to hire Black umpires in 1923 they enjoyed just over three decades of excellent arbitrating with just as many complaints as umpires come to expect. I will briefly mention three of the Men in Blue that serve to bookend both the history of the Negro Leagues and the legacy of African American umpires in Black Baseball.

W.W. “Billy” Donaldson 

Billy Donaldson was the quiet architect of Negro League umpiring professionalism. When Rube Foster decided in 1923 that Black umpires should call Black baseball, Donaldson was one of the first men he trusted. He worked with a calm, deliberate style — never rushed, never rattled — and players respected him because he respected the game. Donaldson helped establish the standards that would guide the leagues for decades: crisp signals, firm control, and a sense that the umpire was part of the game’s dignity. His name does not ring out like the stars he officiated, but the league’s stability in its early years owes much to him. Donaldson officiated in two East-West Classics in 1936 and 1937.

Bert Gholston

Bert Gholston was the steady hand beside Donaldson, a man whose reputation rested on consistency. He was not flashy, and he did not need to be. Gholston worked some of the most heated games of the 1920s and ’30s, and he did it with a temperament that players trusted. He was the umpire who kept arguments from becoming brawls, who could defuse a dugout with a look, who understood that the best umpires are remembered not for their calls but for their control. Gholston helped give the Negro National League its backbone during years when the league’s survival depended on professionalism. Gholston worked well into the 40s. In 1923 he debuted with Donaldson as part of the Negro National League’s first all‑Black umpiring crew.

Bob Motley

Bob Motley brought a sense of theater to the Negro Leagues, but it was never empty showmanship — it was authority earned the hard way. A Marine who survived the Battle of Okinawa returned home with a presence that players felt the moment he stepped on the field. Motley called games in the Negro American League’s final years, working All‑Star contests and barnstorming tours with the same crisp mechanics and booming voice. He understood that the umpire’s job was to keep the game honest, and he did it with flair, humor, and absolute command. When the leagues faded, he became their great storyteller, carrying the memory of Monarchs, Grays, and Crawfords into the 21st century. Motley worked at least three East-West Classics. Often called the “last surviving Negro League umpire.” Mr. Motley passed away in 2017.

All three of these umpires – the Alpha’s Donaldson & Gholston and the Omega Motley – do indeed bookend Negro League history. All three received votes in an ongoing poll – the 42 for ’21 poll – of Negro League fans, researchers, writers, artists, collectors, historians, and students. Donaldson and Gholston finished tied for 115th among 154 players and personages considered in the poll. Bob Motley, more current, finished tied for 42nd.

Other noteworthy umpires include former players such as Oscar Charleston, Bullet Rogan, Mule Stuttle, Phil Cockrell, and Hurley McNair. Veteran arbiters like Fred McGreary and Virgil Bluett, each of whom worked a dozen East-West Classics or fabled legends like Jacob Francis, who performed in the 1885 New York State League, and is considered the earliest Black umpire in an otherwise White professional league. The National Baseball Hall of Fame is very much behind in terms of inducting Negro League players and managers; I wonder if they could find room for one of these competent umpires?

Last week’s Shadowball Significa Question of the Week went unanswered: What feared slugger was the first to hit a home run in a Negro League East-West Classic? The Classic was the official name of the Negro League All Star game. None of my readers produced George “Mule” Suttles who took Sam Streeter to the upper deck in the 4th inning of the initial Negro League All Star game in 1934.

The Shadowball Significa Question of the Week: Seven players have appeared in both a Negro League East-West Classic and a National League/American League All Star game, six of them have been inducted in the Baseball Hall of Fame. Name the 7th who is not inducted? Send your answer and any comments on the Negro Leagues to shadowball@truthseekersjournal.com or Shadow Ball, 3904 N Druid Hills Rd, Ste 179, Decatur, GA 30033

Ted Knorr

Ted Knorr is a respected Negro League baseball historian, a longtime member of the Society for American Baseball Research’s Negro League Committee, and the founder of the Jerry Malloy Negro League Conference as well as several Negro League Commemorative Nights in central Pennsylvania.

Beyond his research and organizing work, Ted is frequently invited to speak at sporting events, community programs, family gatherings, and educational forums, where he brings Negro League history to life. His deep knowledge of the players, teams, and cultural impact of Black baseball has made him a trusted voice for audiences who want to understand the legacy and significance of the Negro Leagues.

Support open, independent journalism—your contribution helps us tell the stories that matter most.

Atlanta Turns Infrastructure into Canvas with New Public Mural in Mechanicsville

Atlanta unveils “Wild Seed, Wild Flower” mural in Mechanicsville, highlighting community, culture, and public art investment ahead of the 2026 FIFA World Cup.

By Milton Kirby | Atlanta, GA  | April 21, 2026

The sun hadn’t quite decided what kind of day it wanted to be. On one side of the retaining wall, warmth. On the other, a stubborn chill that clung to jackets and fingertips. But even in that cold pocket of Windsor and Rawson, the mural behind us radiated its own heat, a 10,000‑square‑foot pulse of color, care, and community.

Mechanicsville has seen its share of seasons. Some harsh. Some hopeful. But on this morning, as neighbors, artists, city leaders, and children gathered at the foot of a seen and unseen wall, the neighborhood felt like it was stepping into a new chapter. It was painted in over 100 colors and more than 800 spray cans, but rooted in something older, deeper, and already alive.

“Murals aren’t just nice because they look nice,” said Adriane Jefferson, Executive Director of the Mayor’s Office of Cultural Affairs. “They’re absolutely necessary.”
She wasn’t talking about beautification. She was talking about story, the kind that lives in a community long before a ribbon is cut.

And that’s the truth of Wild Seed, Wild Flower: it didn’t arrive to make Mechanicsville beautiful. It arrived to reflect the beauty that was already here.


A Wall That Needed a Story

Councilmember Jason Dozier spoke like a man standing in his own living room.
“Welcome to my home community of Mechanicsville,” he said, and the crowd answered with warmth.

He told the story of the “big A wall,”  a massive, weathered stretch of concrete that residents passed daily, often with frustration. A wall that collected graffiti, grime, and the weight of being overlooked. A wall that sat beneath new rapid housing units, beneath the Beacon at Melody, beneath the quiet resilience of people rebuilding their lives.

Mechanicsville Mural by artist Charity Hamidullah – Photo by Milton Kirby

Dozier remembered telling the administration early on: We’ve got to do something about this wall.

And in that moment, you could feel the neighborhood nodding with him. Because every community has a wall like that — a place that holds the memory of what hasn’t yet changed.

But now, that same wall holds a child tying someone else’s shoe while tying their own — a gesture Mayor Andre Dickens interpreted as a symbol of Atlanta itself:
Helping others while helping ourselves.
Growing together.
A group project.


Art as Infrastructure, Art as Home

Mayor Dickens spoke about infrastructure, not the kind marked by orange cones and jackhammers, but the kind that shapes how a city feels.

“People are seeing these murals,” he said. “You’re seeing the social and artistic infrastructure that resonates with our emotions and our love of the city.”

It’s rare to hear a mayor talk about art with that kind of clarity. But in Atlanta, public art has long been a civic language. From Maynard Jackson to today, artists have been treated not as accessories to city life, but as partners in shaping it.

And this mural, the largest of the ten commissioned for the Bridges, Tunnels, and Walls program, stands as a testament to that partnership.


The Immigrant Who Helped Atlanta See Itself

When Monica Campana, co‑founder and executive director of Living Walls, stepped to the mic, she brought the story full circle.

She came to Atlanta in 2007 as an immigrant from Peru.
She founded Living Walls in 2010.
And she learned quickly that public art was the most democratic, accessible, and empowering way to claim space in a city.

“Public art made me feel like my voice mattered,” she said.
It made her feel seen.
It made Atlanta feel like home.

And then she said something that stayed with me long after the speeches ended:

“This mural is a love letter to Atlanta.”

A love letter written by artists from New Orleans, New York, Greece, Iran, Eritrea, Italy, Puerto Rico, Colombia, Peru,  and Atlanta itself.
A global chorus painting a local truth.


Charity Hamidullah – Photo by Milton Kirby

The Artist Who Saw God in Mechanicsville

When lead artist Charity Hamidullah spoke, the ceremony shifted.
Her voice carried something tender, something spiritual.

She talked about seeing children at the Dunbar Center — chalk on their hands, creativity in their eyes.
She talked about seeing God’s creativity in the neighborhood.
She talked about communities tying each other’s shoes, lifting each other up, dancing in harmony.

“This wall is just a mirror,” she said.
A mirror of Mechanicsville.
A mirror of Pittsburgh.
A mirror of South Downtown and Castleberry Hill.
A mirror of every place where people have survived, created, and loved each other through change.

Soccer Ball – Mechanicsville – Photo by Milton Kirby

Yes, the mural was created ahead of the World Cup.
Yes, the world will see it.
But Charity reminded us of the deeper truth:

“This community has been beautiful for a very long time.”

The mural didn’t create that beauty.
It simply made it impossible to ignore.


Mechanicsville Mural – Photo by Milton Kirby

A Wildflower That Will Keep Spreading

When the ribbon was finally cut, the crowd pressed forward — neighbors, artists, city staff, children, elders.
People touched the wall.
People took photos.
People lingered.

And in that lingering, you could feel something growing.

Wildflowers don’t bloom because someone is watching.
They bloom because the soil is ready.

Mechanicsville was ready.

This mural — this wild seed — will keep spreading. Not because of the World Cup.
Not because of the cameras.
But because the community it reflects has been blooming all along.

And now, the city has a wall that tells the truth.

Related articles

Atlanta Marks Major Housing Milestone with Opening of The Beacon at Cooper Street

Atlanta Launches Human Rights Plan Ahead of 2026 FIFA World Cup

City of Atlanta Launches ATL BIZ: New Platform Set to Simplify Permits, Taxes, and Payments Services

City Leaders Help Atlantans Start Fresh at Justice Fair

Atlanta Pauses Construction for Fourth of July, Ramps Up FIFA World Cup Prep

Truth Seekers Journal thrives because of readers like you. Join us in sustaining independent voices.

SHADOW BALL: Learning More About Negro League History

April 14, 2026

 … this column exists for only one purpose and that is to answer your questions on Negro League baseball history. To that end, I need your help … if you are reading this column and enjoy it and want it to continue and you don’t already know everything about Negro League history … then please submit a question on any aspect of Negro League history. Your questions are the lifeblood of Shadow Ball—they shape where we go next.

 – players, teams, events, and more – and, in so doing, you will direct where this column goes moving forward. Your participation is important and appreciated. The very existence of this column depends on you. Submit your questions to shadowball@truthseekersjournal.com.

Last week’s The Shadowball Significa Question of the Week: Who was the first African American pitcher to toss a no-hitter in Major League baseball? Sounds like a straightforward question but due to the peculiar history of Negro League baseball it is not so straight. Turns out there are three answers that I find acceptable: very acceptable. Let’s take a look at them in order.

On May 12, 1955, New York Giant right hander Sam Jones became the first African American to toss a Major League no hitter when he held the Pittsburgh Pirates hitless in a 4-0 victory. Shadowball favorite Will Clark nailed this one just half a day after it was posted.

Sam Jones had a solid big-league career. In addition to the no hitter, Jones had several other distinctions. Him & Quincey Trouppe formed the first African American battery in the American League. Jones was the runner-up to Early Wynn for the 1959 Cy Young award and tops in the NL. Sam Jones career strikeouts per 9 innings (7.5) was higher than all Major League pitchers with as many or more innings pitched than he had when he pitched his last game on October 3, 1964 (i.e. more than the Big Train, Rapid Robert Feller, Rube Waddell, Dazzy Vance and everyone else in MLB history).

Shadowball reader Matt Garvey offered some info that led me to an answer I had not considered but should have. He mentioned that Bill Gatewood had several no hitters. That got me to take a look at Gatewood. Negro League historian Phil S. Dixon offers that Gatewood may have authored as many as twenty no hitters at various levels of competition throughout his career. Phil has found documentation on six of them. One of them occurred on June 6, 1921, and, since December 16, 2020,when MLB designated 7 specific Negro Leagues (including the Negro National League in 1921) as Major. So, the first Major League no hitter by an African American was thrown by big Bill Gatewood in 1921, the second season of “Major” Negro League baseball.

I have one more possibly correct answer in mind – Charles Leander “Bumpus” Jones who, in his major league debut, took the ball for the Cincinnati Reds against the Pittsburgh Pirates 0n October 15, 1892. Ol’ Bumpus went on to be the only pitcher to toss a big league no hitter in first game in the majors. It also was the last game pitched from a pitcher’s box, instead of a mound, 50 feet way from home. It also, if local newspaper sources (as well as early family census records) are accurate he was the first Major League pitcher of African descent. He was referred to as mulatto in the census and colored in local newspaper articles.

If you are keeping score here is a list of select Major League baseball no hitters pitched by African Americans:

#1        10/15/1892 Bumpus Jones            National League

#2        O6/06/1921   Bill Gatewood           Negro National League

#3-21  numerous pitchers, including Satchel Paige, Hilton Smith, Leon Day, and a combined no no by Jose Mendez and Bullet Joe Rogan.

#22     05/12/1955    Sam Jones                National League

Ol’ Sam Jones went to his grave thinking he was the first.

The Shadowball Significa Question of the Week: What feared slugger was the first to hit a home run in a Negro League East-West Classic? The Classic was the official name of the Negro League All Star game. Send your answer and any comments on the Negro Leagues to shadowball@truthseekersjournal.com or Shadow Ball, 3904 N Druid Hills Rd, Ste 179, Decatur, GA 30033

Ted Knorr

Ted Knorr is a Negro League baseball historian, longtime member of the Society for American Baseball Research’s Negro League Committee, and founder of the Jerry Malloy Negro League Conference and several local Negro League Commemorative Nights in central Pennsylvania.

Support open, independent journalism—your contribution helps us tell the stories that matter most.

Atlanta Dream Acquire All‑Star Angel Reese in Major Trade With Chicago Sky

Atlanta Dream acquire All-Star Angel Reese from Chicago Sky, adding elite rebounding and championship pedigree after historic 2025 season, signaling serious title ambitions in 2026.

By Milton Kirby | Atlanta, GA | April 6, 2026

The Atlanta Dream made one of the biggest moves of the WNBA offseason on Monday, acquiring two‑time All‑Star Angel Reese from the Chicago Sky in exchange for the Dream’s 2027 and 2028 first‑round draft picks. Atlanta also receives the right to swap second‑round picks with Chicago in 2028.

Reese, already one of the league’s most productive young players, joins a franchise coming off a historic 2025 season under first‑year head coach Karl Smesko. The 22‑year‑old forward has quickly become one of the WNBA’s premier frontcourt forces, averaging 14.0 points and 12.8 rebounds over her first two seasons while recording 49 career double‑doubles.

“Angel is a dynamic talent and a perfect fit for what we are building in Atlanta,” Dream General Manager Dan Padover said. “Her competitiveness, production and drive to win align seamlessly with our vision.”

Reese’s arrival also brings a significant boost to the Dream’s visibility.

Beyond her on‑court production, she enters Atlanta as one of the WNBA’s most influential social media figures, with a following that extends far beyond traditional basketball audiences. Her presence is expected to elevate the Dream’s national profile and draw new fans to a franchise already on the rise.

Reese first captured national attention by leading LSU to the 2023 NCAA championship, earning Most Outstanding Player honors. Her transition to the professional game has been equally impactful. She set WNBA rookie records for rebounds per game (13.1) and consecutive double‑doubles (15) in 2024, and remains the only player in league history to average at least 12 rebounds per game in each of her first two seasons.

“I’m beyond grateful for the opportunity to join the Atlanta Dream organization,” Reese said. “I’m focused on continuing to grow my game, competing at the highest level, connecting with the fans, and giving everything I’ve got to the Dream.”

Smesko, who transformed Atlanta from last in offensive rating in 2024 to second in 2025, said Reese’s style fits the system he is building.

“Angel’s ability to impact the game on both ends of the floor is elite,” Smesko said. “Her energy, toughness and instincts will thrive in our system.”

The Dream enter the 2026 season with momentum after multiple players delivered career‑best performances last year. Allisha Gray finished fourth in MVP voting, Rhyne Howard became the fastest player in league history to reach 300 three‑pointers, Naz Hillmon earned Sixth Player of the Year honors, and Brionna Jones doubled her career total of double‑doubles in her first season with Atlanta.

Atlanta opens the 2026 season at home on May 17 against the defending champion Las Vegas Aces at State Farm Arena, one of five games the Dream will play there this year as part of the organization’s push to elevate women’s basketball on larger stages.

Truth Seekers Journal thrives because of readers like you. Join us in sustaining independent voices.

Inside the Bill Pickett Invitational Rodeo — Part 5

Nathaniel “Mr. Bowleggs” Dansby’s Soul Country journey reclaims Black roots in country music, blending faith, legacy, and storytelling into a timeless cultural revival.

Nathaniel “Mr. Bowleggs” Dansby Reclaims the Roots of Country Music

By Milton Kirby | Atlanta, GA | April 6, 2026

Nathaniel Dansby’s journey into Soul Country began long before he stepped onto a stage. Long before he became “Mr. Bowleggs,” the rising force who fought his way from third place to champion of the Soul Country Music Star (SCMS) competition, he was simply a boy in a crowded Alabama home—one of six children raised in a family where music wasn’t a hobby. It was a mandate.

“We were kind of like the Jackson 5,” he said with a grin. “We got our tail whooped if we didn’t stay in the room and practice until we perfected it.”

Under the strict but loving guidance of his mother, Dansby began singing at age three. By five, he was performing publicly with his siblings as The Little Gospel Wonders, carrying harmonies from church revivals to community gatherings across Alexander City. His mother saw something in him early, something she named out loud.

Nathaniel Dansby – Courtesy Photo

“My mom told me, ‘Nate, you’re my special child,’” he said. “I lost her in 1998, but I still hear her voice. Before I entered this competition, she came to me and said, ‘Hey, you got it. You’re a winner.’ I had to give it my all because I had that confirmation.”

Her belief became the quiet engine behind his reinvention, heartbreak, and eventual triumph.


A Calling, Not a Career

Dansby doesn’t describe music as a profession. He calls it a calling—one shaped by faith, family, and a desire to give people something real.

“I don’t want to create music just for now,” he said. “I want it to last forever.”

That spiritual grounding shapes not only how he sings, but why he sings. His mission is simple: to give people hope, to make them feel something, and to create music that outlives him.


Finding Country and Finding Himself

Country music was not always part of Dansby’s plan. After years rooted in gospel and R&B, he began singing country music about seven years ago. What started as a new direction quickly became something deeper, something that felt like home.

“I never thought in a million years I’d be singing country,” he said. “But it fits my heart.”

Country music offered him something the other genres didn’t: a place where storytelling, vulnerability, and emotional clarity mattered more than vocal gymnastics.

“Country music is a story. It’s life. I want people to see what I’m singing about.”

Rickey Davis Scott the musician and cultural historian and Soul Country Music Star judge —puts it plainly:

“The history of country music… it’s all from us. From the banjo in South Africa to the rhythms that shaped Hank Williams. Black artists aren’t new to country—we’re the architects.”


Season One: The Third Place Finisher Who Refused to Quit

Dansby’s first appearance on the SCMS stage didn’t end in victory — in fact, he didn’t even make it to the top two. He finished third at the Atlanta regional competition in Season One. The placement stung, not because he expected an easy win, but because he knew he hadn’t yet shown the fullness of who he could be. “I thought, ‘I’m good, I got this,’” he admitted. “But I didn’t. I wasn’t prepared.”

Scott remembers it clearly.

“He went up there and sang R&B,” Scott said. “He didn’t know the country lyrics, the catalog, the tradition. The voice was there, but the identity wasn’t activated yet.”

The crowd loved him.
The judges didn’t.
And Dansby felt the sting.

But he didn’t quit.

“It taught me to give everything—my pain, my soul—because if people can’t feel it, there’s no point.”


The Transformation

After Season One, Dansby went to work.

He studied country music intentionally, the artists, the phrasing, the emotional truth‑telling that defines the genre. He learned to sing country, not imitate it.

“He’d come to me talking about songs he heard on the radio,” Scott said. “That’s when I knew he was embracing the culture, not just the sound.”

Dansby became, in his own words, a musical chameleon, able to shift between genres without losing himself.

“I realized the only thing stopping me was me.”


Season Two: The Redemption and the Crown

When Dansby returned for Season Two, he wasn’t the same artist who had finished third the year before. He came back humble, focused, and prepared—determined not to repeat the mistakes of his first run.

He was grounded.
Focused.
Present.

“I wanted to give everything in my soul so people could feel it,” he said.

And they did.

This time, he didn’t just advance, he dominated. Dansby won the Atlanta regional competition, earning his place on the national stage in Hollywood. And when he stepped into that spotlight, he delivered the performance of his life.

He killed it.
The festival crowd loved him.
And the judges felt what they hadn’t felt before: a fully realized Soul Country artist.

When his name was called as the Season Two national winner, the room erupted. The man who once doubted whether he belonged in country music had now proven himself at the highest level.

“Going to LA showed me I belonged,” he said. “It showed me I could stand with anybody.”

Now, with a potential 2026 tour with the Bill Pickett Invitational Rodeo (BPIR) on the horizon, Dansby returns to the national spotlight not as a newcomer, but as a contender—sharpened, seasoned, and ready for whatever comes next.

“It was the greatest feeling of my life,” he said. “I’ve never felt anything like it.”


 “I want to leave my footprint in the sand. I want people to say, ‘He was here, and he’s here to stay.’”


A Performer Driven by Connection

On stage, Dansby doesn’t perform to the audience, he performs with them.

He describes entering a “zone,” where the goal is not perfection but impact. Whether through clapping, movement, or quiet attention, he looks for signs that the audience feels the music.

“That connection fuels me,” he said. “It turns each song into a shared experience.”


The Cultural Weight of Soul Country

To understand Dansby’s rise, you have to understand the movement behind him.

Soul Country Music Star is not just a talent competition—it is a cultural restoration. A reclamation of a musical tradition whose roots are Black, Southern, rural, and deeply African.

“We’re creative people,” Scott said. “Everything the world loves—we created. Country music is no different.”

Dansby is part of that reclamation—a living reminder of what was lost, and what is returning.


BPIR: The Cultural Homecoming

The Bill Pickett Invitational Rodeo—the nation’s oldest Black rodeo—has become a proving ground for Soul Country artists. It is where Black audiences show up early, buy tickets, buy merch, and support their own.

“It’s a blessing to the people,” Dansby said. “That’s what excites me most—connecting with them.”

Scott sees BPIR as a cultural anchor.

“It’s not just a rodeo,” he said. “It’s a community. It’s a place where our artists can be embraced without running away from their own people.”


The Duet the World Is Waiting For

Dansby and fellow Soul Country artist Kirk Jay have been discussing a duet—a collaboration both artists believe could be a defining moment for the genre.

Dansby says the contrast in their vocal styles is what makes the idea so powerful.

“When we finally record it, it’s going to be something special,” he said.

Scott agrees.

“Two Black men in country, both with powerhouse voices—that’s rare. That’s history.”


A Legacy in the Sand

At 43, Dansby sees his career not as a late start, but as a divine timeline.

He wants his music to be evergreen.
He wants his story to inspire.
He wants his children—and the world—to know that anything is possible.

“I want to leave my footprint in the sand,” he said. “I want people to say, ‘He was here, and he’s here to stay.’”

As “Mr. Bowleggs” continues his ascent, he carries Alexander City, The Little Gospel Wonders, and the full weight of Soul Country’s rebirth with him—proving that the soul of country music has always been right where it started: in the heart.

Country Roots, Diverse Beats: Celebrating the Rich Tapestry of Soul in Country Music.

Agricenter International Showplace Theater – 7777 Walnut Grove Rd, Memphis, TN 38120

Agricenter International Showplace Arena – 105 Germantown Parkway, Cordova, TN 38018

Bill Pickett Invitational Rodeo

Rodeo for Kidz Sake – Friday, April 10, 2026 | 10:00am

Music Competition – Friday, April 10, 2026 | Doors open 7:00pm Competition 8:00pm

BPIR Rodeo – Saturday, April 11, 2026 | 1:30 pm or 7:30 pm


Event Tickets and additional information


Upcoming in the TSJ series – Inside the Bill Pickett Invitational Rodeo

— Rodeo for Kids’ Sake and the Next Generation

Truth Seekers Journal thrives because of readers like you. Join us in sustaining independent voices.

Inside the Bill Pickett Invitational Rodeo — Part 4

Kirk Jay rises from The Voice to Soul Country leader, using BPIR platform to elevate Black country artists and reclaim a powerful musical legacy.

Kirk Jay and the Rise of Soul Country: How a Small‑Town Singer Became the Voice of a Cultural Return

By Milton Kirby | Atlanta, GA | March 28, 2026

When Kirk Jay steps onto the dirt floor of a Bill Pickett Invitational Rodeo arena, the crowd doesn’t just hear a singer they witness a movement taking shape. The Alabama‑born artist, who first captured national attention with a third‑place finish on Season 15 of NBC’s The Voice, has become the face of a growing cultural reclamation: Black artists returning to a genre they helped create.

In 2025, Jay toured with the Bill Pickett Invitational Rodeo (BPIR) and served as a judge for the Soul Country Music Star competition. This year, he returns as the Show Host for Season 3 — a full‑circle moment for the platform’s first champion and winner of its $10,000 grand prize.

“I think Soul Country Music Star gave me a name,” he said. “It’s paving the way for Black country artists like me to get out there and showcase our talent. And I’m having fun. I’m building relationships, gaining fans, and growing as an artist.”

Now a central figure in both Soul Country Music Star and BPIR, Jay has become more than a performer. He is, in many ways, proof of concept. Jay said. “It helped elevate what I do and put it in front of people who needed to hear it.”


A Country Childhood in Bay Minette

Jay is quick to correct anyone who tries to claim him as a Mobile native. “I’m from Bay Minette,” he said with pride. “A lot of people say Mobile, but I spent most of my time in this little town called Bay Minette.”

His roots run deep in the red clay of South Alabama. His parents were devoted fans of old‑school country Ronnie Milsap, Mariah, Night Train and the soundtrack of his childhood blended gospel harmonies with country storytelling.

“We’re no gimmick,” he said. “My family is country. We fish, we ride, we do all the country stuff. This is our lifestyle.”

Jay’s musical journey began in church, where he taught himself piano by ear. After services, he would slip back into the sanctuary, turn to the piano, and mimic what he heard the musicians play. He never learned to read music. Even today, every song begins with a melody — a hum, a chord progression, a feeling — long before any lyrics appear.

“Producers get mad at me,” he laughed. “They say, ‘Why you always start with melody?’ But that’s just how God gave it to me.”


Finding His Voice and His Calling

Jay discovered his vocal gift in the ninth grade after winning a school talent show. That moment sparked a journey that took him across Alabama, Georgia, and Texas, performing at open mics and learning how audiences responded to his sound.

Photo courtesy BPIR – Kirk Jay

His breakout moment on The Voice came with his rendition of “In Case You Didn’t Know,” a cover delivered with such sincerity that many fans assumed it was his original. “That’s marketing,” he said with a grin. “You sing it like it was meant for you.”

For Jay, country music is not an act, it’s inheritance.

“Country music belongs to us, and nobody does it like us,” he said. “Nobody brings that feeling, that soul… like we do. We are the roots. We are the fire. We are the history.”


The Soul Country Connection

Jay’s introduction to Soul Country Music Star came through his first manager, who urged him to audition. After researching the platform, he realized he had found something rare: a space intentionally built for Black country artists.

“I said, ‘Man, this could take me to another level,’” he recalled. “And it did.”

Winning the competition opened doors not just for him, but for the movement itself. His success demonstrated that Soul Country Music Star could identify, elevate, and launch Black country talent on a national scale.

His authenticity resonates deeply with fans, especially young listeners who see themselves reflected in his journey. Many reach out with collaboration requests, concert inquiries, and messages of inspiration.


Growing Through the Rodeo

Performing at BPIR events has sharpened Jay’s artistry. Rodeo arenas are loud, cavernous, and unpredictable. Thousands of fans fill the stands, and the acoustics shift with every stomp of a boot.

“You really got to know yourself as an artist,” he said. “It’s a big platform. You have to study your craft and stay consistent.”

The rodeo crowds have embraced him, and he credits BPIR with expanding his audience, boosting his music sales, and deepening his connection to the culture that raised him.

Jay now has more than 87,000 Instagram followers many of them young Black fans who see in him a version of themselves they’ve never seen on a country stage.


Reclaiming a Sound That Started With Us

Jay speaks openly about the erasure of Black contributions to country music and the urgency of reclaiming that history.

“Country music belongs to us,” he said. “Nobody brings the soul, the feeling, the heart like we do. We’ve been pushed out, but it’s slowly evolving. We’re coming back.”

He sees Soul Country Music Star and BPIR as essential to that restoration.

“I don’t want Black country artists to feel dismissed. We matter. Our sound matters. What we bring is special. We can’t stop doing it. We have to make our mark.”


Inspiring the Next Generation

When asked about youth events like the upcoming “For Kids Sake Rodeo” in Memphis, Jay lit up at the idea of children seeing a Black country artist up close.

“It’s a chance for kids to see our culture,” he said. “Nobody getting hurt, nobody getting shot just doing what we love. Country stuff.”

Even though he isn’t scheduled to perform at that event, the concept resonated deeply. “That’s another step for our youth,” he said. “We’re training up the next generation.”


A Partnership With History

Jay’s partnership with BPIR marked a turning point in his career. Performing for thousands in packed arenas pushed him to grow as a professional and as a cultural ambassador.

“Those stages are big platforms,” he said. “Inside those rodeos, it’s sometimes hard to hear… but the fans reach out being inspired by the approach and delivery.”

His role has since expanded from performer to judge and host, helping Soul Country Music Star scout the next generation of talent. His mission is clear: ensuring that Black culture is no longer erased or sidelined from the genre it helped create.


The Soul Country Music Star Anthem

Jay is currently working on the Soul Country Music Star Anthem, written by Michelle R. Johnson. When he first read the lyrics — “We are the roots, we are the sound, we are the history…” — he felt tears forming before he reached the ten‑second mark.

“I know when a song is a hit,” he said. “This anthem is going to be powerful.”

He hopes to finish it before the first rodeo date of the season.


A Vision Bigger Than Music

As the interview wound down, Jay shared a vision that extends far beyond stages and spotlights.

“I love Bill Pickett Rodeo. I love Soul Country Music Star,” he said. “I want to keep traveling and building relationships until we are heard, respected, and seen. Until we come together as one big family.”

His dream is a world where artists respect each other’s gifts, where racism loses its grip, and where traditions Black cowboys, Black country artists, Soul Country, BPIR — are passed down to future generations.

“Life is so short,” he said. “Let’s fly. Let’s love one another. Let’s take care of our families and pass this down to our kids so the tradition lives on forever.”


A Movement, Not a Moment

As Soul Country Music Star enters its next season and BPIR continues its national tour, Jay remains focused on growth, connection, and purpose. “I just want to keep building, keep traveling, keep being heard,” he said. His vision extends beyond music toward unity, recognition, and cultural preservation.

“We’ve got to come together,” he said. “Respect each other’s gift and let the tradition live on.”

Because Kirk Jay isn’t just a singer.
He’s a bridge between past and future, between erasure and recognition, between what country music became and what it was always meant to be.
And as Soul Country Music Star rises, he stands at the center of a cultural return that’s only just beginning.

Country Roots, Diverse Beats: Celebrating the Rich Tapestry of Soul in Country Music.

Agricenter International Showplace Theater – 7777 Walnut Grove Rd, Memphis, TN

Bill Pickett Invitational Rodeo

Music Competition – Friday, April 10, 2026 | 7:00 pm 8:00 pm Competition

 BPIR Rodeo – Saturday, April 11, 2026 | 1:30 pm or 7:30 pm


Event Tickets and additional information


Upcoming in the TSJ series – Inside the Bill Pickett Invitational Rodeo

— Nathaniel Dansby (Mr. Bowleggs) : The Sound of Country Soul at the Rodeo
— Rodeo for Kids’ Sake and the Next Generation

Related articles

Inside the Bill Pickett Invitational Rodeo — Part 3

Inside the Bill Pickett Invitational Rodeo — Part 2

Inside the Bill Pickett Invitational Rodeo — Part 1

Bill Pickett Invitational Rodeo Names 2025 Champions After a Year of Grow and New Partnerships and a Powerful Legacy

Bill Pickett Invitational Rodeo National Finals Nominated for USA TODAY’s Best Rodeo Award

Bill Pickett Invitational Rodeo Celebrates 40 Years of Tradition and Excellence

Martin Luther King, Jr. African-American Rodeo of Champions Thrills Denver Audience

Truth Seekers Journal thrives because of readers like you. Join us in sustaining independent voices.

SHADOW BALL: Learning More About Negro League History

A few weeks ago, I asked readers: What manager has been named to the Baseball Hall of Fame for Negro League performance? Nobody offered a guess, so I gave everybody credit because just like umpires, second baseman, right fielders, and true left fielders — there are no managers in the Hall for Negro League play. To be clear, 24 of the 37 Negro League Hall of Famers did manage but none of them are in for that role.

This begs the question – which Negro League managers do deserve – like John McGraw, Connie Mack, or Ned Hanlon – induction in Cooperstown.

My favorite Negro League Hall of Fame Managerial Candidates:

#5        Frank Duncan, jr – true baseball lifer … guided the Kansas City Monarchs to a World Series win as a rookie manager in 1942 … 86 games over .500 … captured another pennant after the war in ’46. Managed five Hall of Famers. Ranked 59th most eligible candidate in the 42 for ’21 poll.

#4        Frank Warfield         – a favorite of mine but not a first ballot candidate … among his strengths: his career record is 84 games over .500, with three pennants (with two different franchises) and a 1925 World Series title with the Hilldale Club. Manage 8 Hall of Famers. Ranked 56th in the 42 for ’21.

SLAM DUNKS:

#3        Dave Malarcher – perhaps a stronger candidate as a third baseman …  succeeded Rube Foster as American Giant manager during the ’26 season; stabilized the team capturing 2nd half flag, defeating the Monarchs in the playoff before winning the World Series over Atlantic City. Repeated in ’27 over those same Atlantic City Bacharach Giants. Won a 3rd pennant in ’32. Managed 4 Hall of Famers. 22nd in the 42 for ’21 poll.

#2        Candy Jim Taylor – 13th in the 42 for ’21 poll (although 3rd in his family behind Hall of Famer Ben Taylor and 11th place C.I. Taylor) … managed more games in Negro League play than all other managers … like Connie Mack, Candy Jim had a losing record but did capture two World Series and three pennants … managed 14 Hall of Famers

#1        Vic Harris has the best winning percentage of any Major League manager with more than 370 games in the dugout …  Only three managers (McGraw, Mack, McCarthy) during the Segregated Era have won more than his seven pennants. He is ranked 6th in the 42 for ’21 poll and has managed 15 Hall of Fame players.

All three of those Harris, Taylor and Malarcher should have been in the National Baseball Hall of Fame years ago.

Others deserving consideration: Quincey Trouppe, Felton Snow, Grant Johnson, C.I. Taylor, John Reese, Jose Maria Fernandez, Dizzy Dimukes, Piper Davis, and Winfield Welch. Many of these also should be considered as executives (Taylor) and/or players (Johnson, Trouppe, Davis). I guess my main point would be the Hall of Fame has some work to do in honoring Negro League players in general and Managers specifically.

The Shadowball Significa Question of the Week: Who was the first African American pitcher to toss a no hitter in Major League baseball? I will accept two answers for this question for reasons that will be obvious next column – dateline April 14th, 2nd Tuesday of the month. Send your answer and any comments on the Negro Leagues to shadowball@truthseekersjournal.com or Shadow Ball, 3904 N Druid Hills Rd, Ste 179, Decatur, GA 30033

Ted Knorr

Last week’s The Shadowball Significa Question of the Week: Who was Major League slugger Barry Bonds Godfather? No one offered a guess, but it was another five tool outfielder Willie Mays. I hope some more folks offer a guess to this week’s Significa question above.

Ted Knorr is a Negro League baseball historian, longtime member of the Society for American Baseball Research’s Negro League Committee, and founder of the Jerry Malloy Negro League Conference and several local Negro League Commemorative Nights in central Pennsylvania.

Inside the Bill Pickett Invitational Rodeo — Part 3

Howard Johnson, BPIR head judge, shapes Soul Country by listening for authenticity, guiding emerging artists, and preserving Black musical and Western cultural traditions.

The Judge Who Hears What Others Miss: Howard Johnson and the Soul of Soul Country Music Star

By Milton Kirby | Atlanta, GA | March 24, 2026

At the Bill Pickett Invitational Rodeo, where heritage and innovation ride side by side, Howard Johnson is more than a judge, he is a careful listener, weighing not just sound, but story, spirit, and the deeper truth behind each performance.

Photo courtesy of BPIR

To most rodeo fans, he is the steady presence behind the judges’ table.
But Johnson’s story stretches far beyond the arena dirt.

Long before he was evaluating rising artists, Johnson was lending his voice to the soundtrack of Black cinema, performing three of the male singing voices in the iconic The Five Heartbeats.

“Three quarters of the building don’t know my other life besides being a cowboy,” he said with a laugh. “I’ve been blessed, truly.” Blessed and shaped by a lifetime of music, history, and a deep sense of responsibility to the next generation.


What Soul Country Really Means

When asked what he looks for in a Soul Country Music Star, Johnson’s answer is immediate.

“It’s right in the title – the soul and the country,” he said. “I don’t want anybody who sounds like Charley Pride or Vince Gill or Garth Brooks. I want someone who sounds like us.”

For Johnson, “us” is not a genre. It is a cultural fingerprint, an instinctive blend of gospel, blues, R&B, and lived Black experience.

He points to Ray Charles, Al Green, and the gospel quartets of his youth as proof that the line between soul and country has always been thin.

“Take an early Al Green song, remove the B3 organ, add a steel pedal, you’ve basically got country,” he said. “We’ve always been there.”


Hearing What Others Miss

Johnson doesn’t just judge talent; he listens for what others overlook.

Two artists, now winners of consecutive seasons, stand as proof of that instinct: Kirk Jay and Nathaniel Dansby.

Kirk Jay, the Season One (2024) winner, impressed Johnson with his writing and presence.
“He’s an incredible writer,” Johnson said. “He had the playing, the soul, and that youthful enthusiasm.”

Nathaniel Dansby, who would go on to win Season Two (2025), took a very different path.

In his first audition, other judges scored him low. Johnson was stunned.

“I asked them, ‘What are you listening for?’ Because I heard something special,” he said. “I had him in the 90s. Others had him under 50.”

Dansby nearly walked away from music after that moment.

When he returned the following year — frustrated but determined — Johnson pulled him aside.

“Don’t quit,” he told him. “Come back.”

He did — and delivered a performance that ultimately led to his Season Two victory.

“Your encouragement is what brought me back,” Dansby later told him.

Moments like that define Johnson’s approach.

“You’re dealing with people in the infancy of their talent,” he said. “Who am I to tear that down?”

He is not just judging talent; he is helping it find its footing.


A Childhood That Shaped a Judge

Johnson’s reluctance to crush a dream comes from a painful memory.

At nine years old, singing in a Miami church, he was told he was “too Black.”

He cried the entire ride home. His father, enraged, attempted to turn the car around with a gun in hand. His mother stopped him.

“That moment never left me,” Johnson said. “It shaped how I treat people who are just starting.”

It is why he refuses to judge with cruelty.
It is why he listens for possibility, not perfection.


Photo courtesy of BPIR – Howard Johnson

From Mailman Dreams to a No. 1 Hit

Johnson’s own career began by accident.

At 19, he had taken the civil service exam and planned to become a mailman. Singing was something he expected to do only in church.

But a dare from a friend changed everything.

In a Miami park, he hit a high note from Earth, Wind & Fire’s “Mighty Mighty” that he didn’t know he had.

Two weeks later, he was discovered. Six months later, he had a No. 1 pop hit – So Fine.

“I wasn’t supposed to be singing secular music,” he said. “But that moment changed my life.”


The Blueprint and the Power of the Audience

Johnson believes the music industry’s secrets are not secrets at all.

“The easiest thing to write is a hit song,” he said. “There are thousands of hit records before you. Look at the blueprint.”

Marketing, distribution, radio, and visibility the formulas already exist. But in Johnson’s view, the real power has always rested with the audience. “The people pick the hits,” he said.

For artists coming through Soul Country Music Star, that truth matters. It means success is not reserved for those with industry access alone, but for those who can connect.


The BPIR as Cultural Restoration

Johnson sees the Bill Pickett Invitational Rodeo as more than entertainment. It is a living archive of Black Western history.

He speaks of the origins of the word “cowboy,” born from white ranchers refusing to call Black cattle hands “men.” He speaks of language, history, and identity and how those stories shape the present.

“There are a lot of knowledgeable people around this rodeo,” he said. “It’s a family.”

Through the BPIR, Johnson found not just a platform, but a deeper connection to a history that continues to unfold.


AI, Creativity, and What Machines Can’t Touch

Johnson is clear-eyed about artificial intelligence. He uses it for business planning, but not for music.

“There’s an emotional element AI will always miss,” he said. “Some of the AI music is incredible, but the human part is missing.” He believes that for artists grounded in truth, songwriting will endure.


A Call for Investment in Black Institutions

Johnson’s critique of corporate America is direct.

Black consumers are among the top spenders in major industries, yet those same companies rarely invest in Black communities or cultural institutions.

“Have you ever seen a Nike center in a Black community?” he asked. “Why hasn’t someone said, ‘Let’s invest in something like the Bill Pickett Foundation?’”

He points to the rodeo’s community work; hospital visits, youth programs, and cultural education as deserving of broader support.


No More Single Leaders, Only Collective Power

When asked whether Black America needs another singular leader, Johnson shook his head. “No, we don’t,” he said. “We need us.” He warns against movements built around one figure, pointing to history as a reminder of how fragile that model can be. But collective movement, he believes, is different. When people move together, the impact is lasting.


A Legacy That Cannot Be Contained

Johnson’s pride in Black innovation is boundless.

He speaks of breakthroughs in sports, science, and culture contributions often overlooked, yet foundational.

“They have a reason to be afraid,” he said. “Anything we touch sports, science, whatever, they have to change the rules.”

From Tiger Woods to Stephen Curry, he sees a pattern: excellence that reshapes the landscape.


The Conversation Ends, but the Work Continues

As the interview concluded, Johnson apologized for talking so much.

But his words were not digressions, they were direction.

“It shows what the umbrella could be,” he said. “What I bring to it. How I make the selections I make.” In his voice in his history, his convictions, and his belief in Black artistry lies the heartbeat of Soul Country Music Star itself.


Country Roots, Diverse Beats: Celebrating the Rich Tapestry of Soul in Country Music.

Agricenter International Showplace Theater – 7777 Walnut Grove Rd, Memphis, TN

Bill Pickett Invitational Rodeo

Music Competition – Friday, April 10, 2026 | 7:00 pm 8:00 pm Competition

 BPIR Rodeo – Saturday, April 11, 2026 | 1:30 pm or 7:30 pm


Event Tickets and additional information


Upcoming in the TSJ series – Inside the Bill Pickett Invitational Rodeo

— Kirk Jay: The Sound of Country Soul at the Rodeo
— Nathaniel Dansby (Mr. Bowleggs) : The Sound of Country Soul at the Rodeo
— Rodeo for Kids’ Sake and the Next Generation

Related articles

Inside the Bill Pickett Invitational Rodeo — Part 2

Inside the Bill Pickett Invitational Rodeo — Part 1

Bill Pickett Invitational Rodeo Names 2025 Champions After a Year of Grow and New Partnerships and a Powerful Legacy

Bill Pickett Invitational Rodeo National Finals Nominated for USA TODAY’s Best Rodeo Award

Bill Pickett Invitational Rodeo Celebrates 40 Years of Tradition and Excellence

Martin Luther King, Jr. African-American Rodeo of Champions Thrills Denver Audience

Truth Seekers Journal thrives because of readers like you. Join us in sustaining independent voices.

Women’s History Month: Women, Golf, and Global Strategy Take Center Stage

By Milton Kirby | Atlanta, GA | March 18, 2026

Atlanta’s West Midtown will once again serve as a hub for connection, conversation, and celebration as Tee It Up for Women hosts its 3rd Annual Tee Up Meet Up on Thursday, March 26.

The event, scheduled from 5:00 p.m. to 7:30 p.m. at The Back Nine Golf, blends golf, networking, and Women’s History Month recognition into a single evening designed to bring professionals and enthusiasts together.

Organizers say the annual gathering has grown into more than a social event. It has become a platform where corporate leaders, entrepreneurs, and community members meet, exchange ideas, and build relationships in a relaxed but intentional setting.

“This is about creating access and opportunity in spaces where relationships matter,” organizers noted in the event release. “Golf has long been a place where business gets done — this event ensures women are fully part of that conversation.”

A Featured Voice Behind Atlanta’s Global Stage

This year’s featured guest speaker, Bev Carey, brings a global perspective rooted in decades of high-level event strategy and execution.

Currently serving as Atlanta’s FIFA World Cup Host City Director, Carey plays a central role in preparing the city for one of the largest sporting events in the world. Her work spans operational readiness, logistics coordination, and stakeholder integration all critical to ensuring Atlanta delivers on the global stage.

Through her firm, Carey Communications, she has spent more than 20 years managing complex projects across sports, entertainment, nonprofit, and technology sectors. Her experience includes Olympic and Paralympic planning, large-scale live event production, and crisis management strategy.

Her recent appearance as a lead panelist at Mercedes-Benz Stadium underscores her leadership in shaping Atlanta’s preparations for the 2026 FIFA World Cup.

At Tee Up Meet Up, attendees will hear firsthand how those experiences translate into leadership, innovation, and opportunity particularly for women navigating traditionally male-dominated industries.

Networking, Play, and a Unique Atlanta Twist

The evening includes a mix of structured and casual engagement. Attendees will enjoy golf bay play, a putting challenge, appetizers, and drinks while connecting with fellow professionals and sponsors.

But the experience doesn’t end when the golf clubs are put away.

Participants are invited to continue the evening just steps away at American Axes, where a one-hour bonus axe-throwing session will extend the networking experience.

The event’s design reflects a broader trend in Atlanta’s professional scene — blending business development with experiential environments that encourage authentic interaction.

How to Attend

For registration details, sponsorship opportunities, or additional information, readers are encouraged to contact the event organizer directly:

Sabrina Jenkins
📧 sabrina@sjl-26eventproductions.com
📞 404-824-4292
🔗 https://sjl26eventproductions.com/2026teeupmeetup

Event Location: The Back Nine Golf – 212 Chattahoochee Row NW – Atlanta, GA 30318

Support open, independent journalism—your contribution helps us tell the stories that matter most.

Inside the Bill Pickett Invitational Rodeo — Part 2

Bill Pickett Rodeo leader Margo Wade-LaDrew launches Soul Country Music Stars, creating national opportunities for Black country artists and reshaping the genre’s cultural narrative.

THE ARCHITECT OF SOUL COUNTRY MUSIC STAR

How Margo Wade‑LaDrew Helped Reimagine the Black West

By Milton Kirby | Atlanta, GA| March 17, 2026

When cable technician Shannon Whitaker stepped into Margo Wade‑LaDrew’s living room in Baldwin Hills, California he didn’t pause for the television or the equipment he’d come to repair. His eyes locked onto a jacket draped across a chair, unmistakably embroidered with the crest of the Bill Pickett Invitational Rodeo.

“I went when I was nine,” he said, suddenly grinning like a child. He was forty‑eight now. The memory had lived inside him for nearly four decades.

Moments like this follow Margo everywhere. They are reminders — unplanned, unscripted of the cultural force she has helped shape. For nearly thirty years, she has been one of the quiet architects behind the Bill Pickett Invitational Rodeo (BPIR), the nation’s only touring Black rodeo association and the spiritual home of Black Western culture. And in recent years, she has become the visionary behind its newest cultural branch: Soul Country Music Star, a platform designed to restore Black presence in a genre Black people helped create.

To understand how she arrived here at the intersection of rodeo, music, fashion, philanthropy, and cultural preservation you have to start long before the arena lights, long before the crowds, long before the sound of a banjo or the thunder of hooves.

You have to start in Richmond, Virginia.


Photo courtesy BPIR – Margo Wade-LeDrew

A Childhood of Work and Responsibility

Born in 1961, Margo Wade grew up in a household shaped by both love and hardship. When she was twelve, her mother began cycling in and out of hospitals with schizophrenia. The responsibility of raising two younger brothers fell to Margo and her sister while their father worked long hours to keep the family afloat.

“I’ve worked all my life,” she says, not as complaint but as fact.

By fourteen, she had a job in a Richmond hospital. By ten, she had already been knocking on doors selling flower seeds and Christmas cards. She didn’t know it then, but she was learning the skills that would define her adult life: how to connect with people, how to read a room, how to sell, and how to build trust.

Her first dream was to become a flight attendant. But life had other plans — plans that would take her into the heart of Black beauty culture, Black media, and eventually, Black Western history.


The Black Institutions That Formed Her

In her twenties, Margo entered the beauty industry, modeling in Richmond before moving to Chicago then the epicenter of Black haircare. She worked temp jobs until she landed at Johnson Publishing Company, the powerhouse behind Ebony and Jet. There, she became a merchandiser, then a sales rep, then a national sales manager.

Johnson Publishing didn’t outsource creativity. They held internal think tanks where Black professionals brainstormed campaigns, promotions, and strategies. It was a training ground in cultural authorship a place where Black people shaped how Black people were seen.

From there, she moved through World of Curls, Dark & Lovely, Magic Shave, Bronner Brothers — a constellation of Black-owned companies that defined Black aesthetics for generations. She learned event planning, sponsorships, branding, and community outreach. She learned how to build programs from scratch.

And then she stepped into the NAACP Image Awards, where she wrote her first bid for services without ever having written one before and won. For six years, she helped produce one of the most important cultural events in Black America.

She didn’t know it yet, but all of this was preparing her for the moment she would walk into the Burbank Equestrian Center in 1996 and see something that would change her life.


The Revelation: Discovering Black Cowboys

She had gone to volunteer for a friend. She expected a community event. She did not expect to see Black cowboys and cowgirls — not in California, not in the 1990s, not in a world where Westerns had erased them.

“I had never seen Black cowboys before,” she says. “I didn’t even know there was a traveling Black rodeo.”

The Bill Pickett Invitational Rodeo was celebrating its tenth anniversary that year. Founded by promoter Lou Vason in 1984, it was the first and only touring Black rodeo in the country. It had been built from scratch, city by city, without internet, without mainstream support, without recognition.

Margo was stunned. She was also hooked.

When her friend left for a job at BET, she asked Margo and another colleague to take over her role. They didn’t know rodeo culture. They didn’t know sponsorship strategy for Western sports. They didn’t know the logistics of animals, arenas, or ticketing.

But they learned. And Margo stayed.

For the next twenty years, she worked alongside Lou Vason, traveling from city to city, counting tickets in hotel rooms until 3 a.m., building relationships with cowboys, cowgirls, families, and communities. She watched the rodeo grow from a grassroots operation into a cultural institution.

And she watched Lou a legendary Black music promoter tie entertainment to the rodeo because he understood something essential: Black people would come for the culture, not just the competition.

That insight would later become the seed of Soul Country Music Star.

Sidebar – What Is Soul Country Music?

Soul Country Music, as envisioned through the Bill Pickett Invitational Rodeo’s Soul Country Music Star competition, blends the storytelling structure of country music with the emotional force, vocal texture, and lived experience long rooted in Black musical traditions. The concept pushes back against the narrow way country music has often been marketed and remembered. It creates room for artists who may sound country, soul, gospel, blues, or genre-crossing, but who still carry the themes of struggle, family, faith, place, love, and resilience that define country storytelling. For Margo Wade-LaDrew, the idea is not about inventing something new from scratch. It is about naming, elevating, and investing in a tradition that has always existed.


The Leadership Era: Black Women Take the Reins

When Lou Vason became ill in the early 2010s, his wife, Valeria Howard Vason, began traveling more, learning the books, the logistics, the operations. When Lou passed in 2015, she stepped fully into leadership becoming the first Black woman to run a national rodeo.

Margo became her right hand.

Together, they modernized the organization:

  • expanded the tour
  • secured major sponsors
  • built the BPIR Foundation
  • created grant programs
  • partnered with Crown Royal, Toyota
  • brought BPIR to television for the first time in 2021
  • returned to Fort Worth’s historic Cowtown Coliseum
  • grew the Fort Worth stop to ten sold‑out performances
  • became Hollywood’s go‑to rodeo for authenticity

They did all this with a tiny staff. No salaries for leadership. No corporate infrastructure. Just commitment, cross‑training, and a belief that the rodeo mattered.

And then came the idea Margo had been carrying for a decade.


The Birth of Soul Country Music Star

For years, Margo had watched Black country artists show up at BPIR with guitars in hand, hoping for a chance to perform. They had no platform. No industry support. No place to belong.

She and her husband, Lawrence LeDrew, talked often about creating something for them — a showcase, a competition, a cultural home.

After Lou’s passing, she kept bringing it up.

Finally, Valeria said, “Stop talking about it and just do it.”

And she did.

In June 2024, during BPIR’s 40th anniversary, Soul Country Music Star launched. It was a tribute to Lou Vason’s entertainment legacy, to Valeria’s belief in the idea, and to the artists who had been waiting for a door to open.

The program quickly grew:

  • 60–70 artists have come through
  • six finalists per city
  • two winners so far
  • $10,000 prize
  • winners travel with the rodeo
  • artists perform halftime and pre‑show
  • BPIR promotes their music
  • artists sell merch at the rodeo
  • mentorship in branding, booking, and performance

Suddenly, the world was paying attention to Black country music. Soul Country Music Star was no longer a niche idea it was part of a national cultural moment.

Photo courtesy BPIR – Soul Country Music Star

The Cultural Lineage: Restoring What Was Always Ours

Margo is clear about the history:

  • The banjo is African.
  • The harmonica was central to early Black country and blues.
  • DeFord Bailey was the first Black star of the Grand Ole Opry — and they hid his race.
  • Linda Martell was the first commercially successful Black female country artist — and the industry pushed her out.
  • Charley Pride broke barriers but was treated as an exception.
  • Ray Charles reshaped country music by adding soul.

“Country music is ours,” she says. “We’ve always been there.”

Soul Country Music Stars is not a novelty. It is a restoration.


The Rodeo as a Cultural Homeplace

Ask Margo why BPIR matters, and she won’t talk about prize money or logistics. She’ll talk about:

  • the seven‑year‑old boy who whispered, “I see Black cowboys”
  • the woman who begged for tickets with a childhood photo
  • the families who plan reunions around the rodeo
  • the fourth and fifth generation children growing up in the stands
  • the music, the clowns, the announcers, the rope tricks
  • Howard Johnson singing Lift Every Voice in the dirt
  • the Black flag flying beside the American flag

BPIR is a place where Black people see themselves — past, present, and future.


The Legacy She Wants to Leave

When asked what she wants future generations to remember, Margo doesn’t hesitate.

“That the Bill Pickett Invitational Rodeo cared,” she says. “That we opened doors. That we loved our community enough to keep going.”

She wants BPIR in museums. She wants the traveling museum to become permanent. She wants the documentary finished. She wants the nighttime drama about a Black family running a rodeo to be televised.

And she wants The Greatest Show on Dirt — the story of BPIR — on the big screen.

She has already begun the work.


A Cultural Architect for the Next Generation

Margo Wade‑LaDrew’s life is a blueprint of Black cultural stewardship:

  • a childhood of responsibility
  • a career in Black-owned institutions
  • two decades shaping the rodeo under Lou Vason
  • a leadership era defined by Black women
  • a foundation built on grants, scholarships, and community
  • a music platform restoring Black country’s rightful place
  • a commitment to legacy, memory, and cultural truth

She is not simply preserving history. She is expanding it.

And somewhere in Greater Los Angeles, California, cable technician Shannon Whitaker is telling someone about the day he walked into a house, saw a jacket, and remembered the first time he saw a Black cowboy. That is the legacy she is building — one memory at a time.


Country Roots, Diverse Beats: Celebrating the Rich Tapestry of Soul in Country Music.

Agricenter International Showplace Theater – 7777 Walnut Grove Rd, Memphis, TN

Bill Pickett Invitational Rodeo

Music Competition – Friday, April 10, 2026 | 7:00 pm 8:00 pm Competition

 BPIR Rodeo – Saturday, April 11, 2026 | 1:30 pm or 7:30 pm


Event Tickets and additional information


Upcoming in the TSJ series – Inside the Bill Pickett Invitational Rodeo

Part 3 — Kirk Jay: The Sound of Country Soul at the Rodeo
Part 4 — Nathaniel Dansby (Mr. Bowleggs) : The Sound of Country Soul at the Rodeo
Part 5 — Rodeo for Kids’ Sake and the Next Generation

Related articles

Inside the Bill Pickett Invitational Rodeo — Part 1

Bill Pickett Invitational Rodeo Names 2025 Champions After a Year of Grow and New Partnerships and a Powerful Legacy

Bill Pickett Invitational Rodeo National Finals Nominated for USA TODAY’s Best Rodeo Award

Bill Pickett Invitational Rodeo Celebrates 40 Years of Tradition and Excellence

Martin Luther King, Jr. African-American Rodeo of Champions Thrills Denver Audience

Truth Seekers Journal thrives because of readers like you. Join us in sustaining independent voices.

Exit mobile version