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In ‘Little Satchmo,’ a Sarasota resident shares her story as the secret daughter of Louis Armstrong –

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Sharon Preston-Folta, daughter of Louis Armstrong, said the jazz icon couldn’t acknowledge her publicly but said he ‘loved her the best way he could.’ She opens up about their complex relationship in a new documentary. Victoria Crosdale / WUSF Public Media

By Stephanie Colombini & Victoria Crosdale, WUSF Public Media – WUSF 89.7

SARASOTA — For most of Sharon Preston-Folta’s life, she kept a profound secret: her father is jazz legend Louis Armstrong.



 

The public believed for decades that Armstrong did not have any children. But Preston-Folta changed that 10 years ago when she revealed in a memoir that she is his daughter. The Sarasota resident is sharing her story again, this time on screen in the documentary “Little Satchmo.”

It’s playing at film festivals around the world this year and will kick off the upcoming season of the PBS series REEL SOUTH on April 11.

Wednesday, REEL SOUTH will host a virtual screening and Q&A with Preston-Folta and the filmmakers ahead of its Season Seven premiere.

Preston-Folta was born in 1955. Her mother, Lucille “Sweets” Preston, was a performer from Harlem, New York. She was romantically involved with Armstrong for many years, but he was married to someone else — his fourth wife Lucille Armstrong.

Preston-Folta said the world-famous musician and cultural icon felt like he couldn’t publicly acknowledge a child born from an affair.

“For anybody back then in the 1950s and ’60s it was taboo,” she said. “Just add the fact that Black people were not considered equal and were fighting for civil rights, it would take them back even further.”

But privately, Preston-Folta was part of Armstrong’s life.

“When we were together.”

She has letters and audio recordings he would send to her and her mom professing his love for them and recounting his travels.

“It was just part of how he interacted with us. You know, it wasn’t really until he wasn’t with us that I realized how special it was that he communicated through letters and sent audio messages as if he were there,” said Preston-Folta.

Armstrong’s instantly recognizable voice can be heard in the film delivering messages like, “I know Sharon is a good girl.” The documentary, like the memoir, gets its name from another letter Armstrong sent Sweets Preston when he learned she was pregnant.

“He says, ‘Oh the baby must have my name right away,’” said Preston-Folta, whose middle name is Louise. “And then he says, ‘Take care of yourself and my Little Satchmo.’”

Armstrong also talks in the letters of paying for Preston-Folta’s education and sending her presents. She said he paid for her to go to private school and saved up money for her to go to college.

He bought her mom a home in Mount Vernon, New York. Preston-Folta said her father would visit them there occasionally, or invite them along on tour to see him perform.

“One song that I always feel connected to him is “When It’s Sleepy Time Down South,” said Preston-Folta, beginning to reminisce.

“I can remember as a young child going to those shows either sitting in the front row or being backstage. And he sings that song like no one else, and he ends it the same way, you know (singing), ‘Good evening everybody,’ and then goes into the next song. It makes me smile because it reminds me of when we were together.”

Preston-Folta said that’s the one song that makes her think of “Dad” when she hears it, rather than Armstrong the jazz icon.

She said as a young child, life was good, but said as she grew older she began to question why she couldn’t see or speak to her dad without her mom and others carefully controlling the situation. His absence became more painful.

“In the veil of having a roof over my head and a decent lifestyle, I was missing that emotional connection,” said Preston-Folta.

She was 10 years old when she learned the truth about her father’s marriage, watching from her living room as Armstrong talked about his wife on the “Tonight Show with Johnny Carson.”

“So it was really confusing, which led to anger, and then also led to, well, I need to be self-sufficient,” she said.

Preston-Folta said she and her mom lost touch with her father in the years leading up to his death in 1971. She said his illness, and also a bitter argument her parents had on a trip to Atlantic City a few years prior, contributed to the separation.

It took a lot of time, she said, to reflect on her relationship with her parents and accept them.

“Like people say it takes a village to raise a child, it takes a village to heal,” she said. “So it wasn’t just one thing, it was sitting with a qualified therapist, it was renewing my faith — I’m a born-again Christian. I would say the biggest catharsis came when I sat down and wrote the memoir.”

Preston-Folta co-wrote Little SatchmoLiving in the Shadow of my father, Louis Daniel Armstrong with Denene Millner in 2012.

“I just wanted to make myself known and the circumstances of why I wasn’t known, but I do exist,” she said.

Armstrong’s legacy

The outpouring of support Preston-Folta has received since publishing the book and now screening the documentary has meant a lot to her, she said. Some people open up about their own challenges with parents; others share fond memories of Louis Armstrong.

“Here these people were accepting me and sharing with me and just letting me know just how special he was, so that was an unexpected gift,” she said. “And I’m thankful that other people saw themselves in my story in some way.”

Preston-Folta acknowledged there have also been skeptics who question whether she really is Armstrong’s daughter. There is no medical proof, though she bears a striking resemblance to him. She said Armstrong’s wife also legally “erased” her from his will, signing an affidavit after his death that he bore no children nor adopted any.

But Preston-Folta said she knows Armstrong believed he was her father, and she believes that he loved her “the best way he could.”

As for how her story should affect his legacy, Preston-Folta said she hopes the documentary will help people understand her father was a complex man as opposed to a caricature of an entertainer.

“Remember the genius that he was, that he was a multi-dimensional human being, he loved deeply, and that my mother and I were a part of his life as much as anything else was in his life,” she said.

About the film

Little Satchmo is directed by John Alexander, who also wrote the film. Lea Umberger and JC Guest produced it.

Preston-Folta said the “small but mighty” team worked through the pandemic to craft the film, blending found footage with shots taken in her Sarasota home.

According to Umberger, the documentary has been selected for more than 20 film festivals around the world from the U.S. to Greece, Japan, Italy, and more. Earlier this month it was featured in the Through Women’s Eyes International Film Festival in Sarasota.

On April 10, Green Light Cinema in St. Petersburg will also host a screening and Q&A as part of the Listen Up Film Series, presented by Daddy Kool Records. You can purchase tickets for the event here.

Wednesday’s free virtual screening hosted by REEL SOUTH starts at 7 p.m. You can register to attend here.

“In ‘Little Satchmo,’ a Sarasota resident shares her story as the secret daughter of Louis Armstrong” originally appeared on WUSF Public Media



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Raheem Fitzgerald discusses his intimate portraits at The Factory on Feb. 29 –

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Don’t miss St. Pete native Raheem Fitzgerald in conversation with The Factory’s Liz Dimmit this Thursday, Feb. 29, from 5:30-7 p.m. at The Factory, 2606 Fairfield Ave. S, in St. Pete. 

BY J.A. JONES | Staff Writer

ST PETERSBURG – Raheem Fitzgerald’s portraits startle with the emotional information each piece emotes.

“It’s in the eyes,” intoned his cousin Juan DaCosta. “The way they look at you.”

Fitzgerald has been a curator at The Factory in St. Pete for several years, bringing several art shows and music events to the space. “Re:Definition” is his first solo show in the space.

The description for “Re:Definition” notes that it presents Fitzgerald’s unfolding studies into art history and the Black experience. His work forms a continuum with the expressive figurative painting and politically engaged works of European and Black American artists.

Ice Cold, 2024 Raheem Fitzgerald

A St. Pete native who spent a chunk of his childhood in Atlanta, Fitzgerald returned in 2016 and has been an active member of the creative community. His evolution has included being a digital creator, DJ and founder of NHO, a lifestyle company created by himself and three friends outside a Starbucks in Atlanta.

He described his journey as embracing the artistic life with intentional decisions about everything from his singular hairstyle and demeanor — black and white images of Harry Belafonte and Sammy Davis, Jr. may offer a clue to his signature, somewhat retro clothing style of a white tee with fitted, slightly above the ankle jeans.

He’s also happy to credit the “artful tradition that preceded him,” which, according to his writing, “ultimately model a grander vision for himself and society. His work allows us to indulge in his belief in the idea of the masterpiece as an achievable aesthetic pursuit at a time when most have become disillusioned with the implication that the current economic and social order represents any semblance of a meritocracy.”

While his journey to find inspiration while presenting himself as an “icon” may be informed by named movements, he gives a nod to the Fauvists of 1920s France. His ongoing evolution as a painter ensures that his ultimate creations are self-determined. One of the artists involved in creating the “Black History Matters” mural in front of the Woodson (his was the first “T” in Matters), the bio for “Re:Definition”  notes that Fitzgerald is “looking to ‘redefine’ traditional subjects and reconstruct painting for his own purposes.”

Black Carmelina, 2024 Raheem Fitzgerald

While many of his works are strictly portraits of unnamed individuals whom Fitzgerald brings to life with rich, dark shades and haunting gazes, his interest in social and historical periods of unrest is also evident.

His examination of our fractured democracy undergirds his both whimsical and heavy painting “America Responding to War.” Painted in early 2023, after a trip to New York’s Modern Museum of Art, Fitzgerald explained, “It’s about, you know, being Black in America and like having to kind of keep it together when there’s like, excuse my language, really fucked up stuff happening around you. Those Ballerinas are dancing around a painting called The Charnel House by Pablo Picasso that features a pile of dead bodies; I went to the MoMA, and then I came back home and painted that. It’s what I think a lot of people can relate to; whether you’re Black or white, you got to keep it together in the face of some stuff that really ain’t easy. “

Another painting, “Black Congress,” is his rendering of images of the Black Panther Party for Self-Defense.

Aware of his increasing abilities and craft development, Fitzgerald has considered taking training at an MFA program. He admitted that his interest is “mostly just wanting to pursue higher education. It’s funny when I said that, you know, I think a lot of people in my family were like, ‘Wow.’  My grandma said, ‘Wow, I’m so happy to hear this,’ and my mom … always knew which kind of kid I was going to be.”

Les Femme Asisse, 2024 Raheem Fitzgerald

While he may shrug off the urge to go to school for painting to make his family proud, it’s also evident that Fitzgerald is a serious painter who desires to take his raw talent to a level that will have his work in international museums. When asked how he’s moved beyond the work of a young artist who is still relying on digital tools to do work, he’s cautious about judging; instead, he attributes it to consistent work.

To his mind, his abilities are the natural product of constant woodshedding. “[I] couldn’t say, “I’m a basketball player — when LeBron James goes to the gym every day. So, I think it just comes from the fact that I do this a lot … That’s why it looks different, or that’s why it occurs differently. Probably.”

His hard work and time spent indicate that Fitzgerald is going places; another sign is his curiosity about what makes other great artists tick and his awareness that it is more than technique.

For him, learning about painting is also “studying painters and the techniques they use to produce their work; the rooms they hang out in; the conversations they had with their peers. That’s more so what I mean. It’s like painting is about the actual putting the liquid and then letting it dry into a solid onto a surface, you know, but it’s also about just other things.”

Raheem’s evolution as an artist can be seen on Instagram, where he shares his work under the handle @abstractpoet.

You can see him talk about his work in person with The Factory’s Liz Dimmit this Thursday, Feb. 29, from 5:30-7 p.m. at The Factory, 2606 Fairfield Ave. S. In partnership with the Fairgrounds St. Pete, attendees at the talk will receive discounted tickets to the Fairgrounds, which features new exhibits.

“Re:Definition” runs through March 10. Click here for more information.



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Toms, coons and mammies reimagined at the Woodson –

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Patrick Jackson, (left), manager of education and outreach at the Woodson Museum and curator Dr. Cody L. ‘Spec’ Clark discussing the artifacts in the ‘Resilience & Revolution: An Immersion of Black Americana’ collection.

BY FRANK DROUZAS | Staff Writer

ST. PETERSBURG — Dr. Cody Clark stopped by the Woodson African American Museum of Florida on Feb. 10 to discuss his exhibit, “Resilience & Revolution: An Immersion of Black Americana,” co-curated by Montague Collection, an exhibition company dedicated to illuminating the richness and complexity of African American history through visual arts.

Clark was the program counselor for Gibbs High School’s Pinellas County Center for the Arts for more than 35 years and has been building his collection for over two decades.

Clark explained there is a distinction between Black Americana and Jim Crow art. As Jim Crow memorabilia thrived between the 1880s and the 1960s, it was created by whites and depicted exaggerated stereotypes of African Americans, such as the female “mammy,” a male “brute caricature” or the grinning young “pickaninny.”

Visit the Woodson and take a step back in time to the Jim Crow era, where you’ll explore the stark realities of discrimination.

“They are not designed by African-American people, and they are not really about our lives,” he said. “They are what the whites thought would be oppressive to African Americans.”

Black Americana includes art created by Black people or artists counseled by Black people. Clark said some believe even today that racism isn’t an issue, yet “when you look at something that has occurred in the making of thousands of these pieces … you can see the insidious work that such a thing can cause, especially in large numbers and especially in homes daily.”

Clark found most of his pieces in thrift stores and yard sales, while some of the more valuable ones came from antique shops. He pointed out that the pieces attracted his attention because while the message they send about a people is evil, they are genius in their effectiveness of what they have caused.

Before acquiring a piece, he asks himself: “What is it telling me beyond its horribleness? What is it telling me beyond its intent? What are the unintended consequences of looking in their faces?”

Clark has displayed his collection in Florida and Georgia, and it has been chiefly in front of a white audience, Clark admitted.

During the Jim Crow period, African Americans were confronted by institutional discrimination and acts of individual discrimination and generally treated as second-class citizens.

As an educator, he displayed some of these pieces in his office and discovered that his Black students didn’t experience as much discomfort with them as did white students and white faculty members.

“The Black students were able to understand a collection like this once explained,” he said.

In his experience, Clark said that white people often become nervous when the subject of racism is brought up. He said they don’t realize they’re in the fight, but they are.

“You have to be involved in the solutions of what racism is about,” Clark asserted.

He revealed that white people have given him some of these pieces, in essence, trying to unburden themselves of them.

“They had them and are afraid of them, so they believe me to be a safe place to give them. I can understand why they’re nervous, but they also believe they’re history,” Clark explained.

There have been Black people upset by his collection. Clark knows some who have acquired such items to destroy them. White people, on the other hand, don’t want to even think about their existence at all — both viewpoints are too extreme for learning purposes, he averred.

“If you don’t really look at how this could happen, you will not understand how we got here,” Clark said. “And you certainly won’t know the proper, effective ways of solving the future.”

We must acknowledge the past and must do better to understand the difference between saying or doing a racist thing and comprehending the system of racism, he affirmed,

“You can get over someone calling you the n-word,” Clark said, “but when you are caught in a system, and you really don’t know how to break that system, that’s a problem. All of us are in it.”

Touching upon the specific items, he referred to the well-known image of Aunt Jemima as the “queen” of them all. He said she feeds people, and children will not go hungry when you see her around. Figures such as this are in our lives, Clark noted, adding that he knew some white women who were “Jemimas,” who did not feed him with food but with advice and direction in life.

“Look out for the Aunt Jemimas in your own life and what they do,” he said. How were you fed? Real good food or not so good? Some of us have had to shake loose of some of what you were fed.”

Aunt Jemima with her husband, Uncle Mose.

Indicating a depiction of Uncle Mose, whose name was changed from Uncle Rastus to avoid confusion with the Cream of Wheat character; he was the husband of Aunt Jemima. Clark noted that he appeared smiling with his hat in his hand, as though he wouldn’t harm a flea, but he is really absorbing information to relay.

“He’s right there listening, paying attention,” he explained. “Not loud. Some of us have had to learn to be Uncle Mose on the inside and how to take back the information. Who is that in your life, Black or white or other ones that can quietly speak the truth to you without the bravado, without the noise, but be just as effective?”

The oldest piece, the “topsy-turvy doll,” likely made by the enslaved for whites before the Civil War, could switch its appearance from a Black girl to a white girl when turned inside out.

Dr. Cody Clark likened the topsy-turvy doll to today’s code-switching.

“There’s not a Black person in this room that doesn’t know what code-switching is about. There are times when, because you are not being met with your true self, you will have to turn into that,” he said, pointing to the doll. “Your language must change; your actions must change because the larger community — the white community — won’t understand you. You can’t get that job if you don’t know how to switch and bring it back when you come home.”

Another doll in his collection from the 1960s was of a Black girl but with “white” characteristics, notably in the style of the hair and shape of the face and nose.

Over the years, African Americans became more educated, but it had unintended consequences, he noted.

“The more educated African Americans become, the more we shoulder the work in trying to make whites comfortable with us so that we are more digestible,” Clark said.

He encouraged whites to be more active in understanding what life is like for African Americans on a daily basis, even suggesting they attend a Black church to “be the uncomfortable one surrounded around Black people and see how you feel about it and learn what that’s like.”

On Tuesdays and Thursdays after 1 p.m. through the end of the month, you can gain insight on the collection from Dr. Clark himself at the Woodson, and on Feb. 29 at 6 p.m., don’t miss the closing reception of “Resilience & Revolution,” featuring Dr. Clark, as well as Clinton Byrd and Cedric Jones of the Montague Collection.

The Woodson African American Museum of Florida is located at 2240 9th Ave. S, St. Petersburg.

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An Immersion of Black Americana’ at The Woodson Feb. 10 –

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Join Dr. Cody Clark for the ‘Resilience & Revolution: An Immersion of Black Americana’ on Saturday, Feb. 10, from 5-8 p.m. 

ST. PETERSBURG – The “Resilience & Revolution: An Immersion of Black Americana” exhibit, now on display at The Woodson African American Museum of Florida, is a thought-provoking and immersive experience co-curated by The Montague Collection and Dr. Cody Clark.

The exhibition will captivate visitors by delving into the rich tapestry of African-American history and culture. The “Resilience & Revolution” is a beacon of hope, knowledge, and understanding, challenging stereotypes and celebrating the resilience and contributions of African Americans.

Visit the Woodson this Saturday, Feb. 10, from 5-8 p.m. to hear co-curator Dr. Clark as he speaks about the artifacts in the collection. Coinciding with the Second Saturday ArtWalk, the reception will allow guests to view African Americans’ relentless pursuit of justice and equality during this period through ephemera, memorabilia, and narrative.

About The Montague Collection

The Montague Collection stands as a distinguished bespoke exhibition company dedicated to illuminating the richness and complexity of African-American history through the compelling medium of visual arts. With unwavering commitment and profound reverence, we curate exhibitions that pay homage to African Americans’ vibrant legacy and profound contributions, fostering cultural understanding and inspiring a more inclusive world.

About Dr. Cody Clark

Dr. Cody L. “Spec” Clark has had a long-standing career of over 35 years with the renowned arts magnet program at Gibbs High School as the program counselor of fine and performing arts. He was educated in Georgia and completed his bachelor’s degree in psychology at LaGrange College in LaGrange, Ga.

He completed both his master’s degree and his specialist degree in counseling education at the University of South Florida in Tampa. In 2003, he finished his doctoral degree in Children, Youth, and Family counseling services at Nova Southeastern University in Ft. Lauderdale. Clark specialized in African-American youth in the visual and performing arts.

Resilience & Revolution: An Immersion of Black Americana is on display through March 1.



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