This time of year I can’t help but feel nostalgic for one of Pensacola’s lost legacies, St. Anne’s Roundup.
St. Anne’s is a Catholic Church on Pensacola’s west side, and for forty years it hosted the western themed Roundup, one of the most beloved and popular festivals Pensacola ever produced. It was such a popular event that in 1992 over 200,000 people attended and it was simply amazing. It’s easy to find Pensacolians 25 years of age and older who have quite fond memories of the Roundup.
It all began in May of 1964 when Father John A. Lacari held a parish fund-raising dinner with a western theme. It was so successful that he built it into the annual St. Anne’s Roundup, a full three days of Western flare on the first weekend of every October, drawing in huge crowds from all over the area.
Father Lacari had a small mock western styled ghost town constructed in the pecan grove behind the church and named it Bellview Junction in honor of the census designated place just outside the Pensacola city limits where the church is located. The buildings housed numerous food and refreshment stands, games, and a photo booth where people could dress in period clothing and have their picture taken. The main activities and entertainment took place out front of Miss Kitty’s Saloon at the end of the main street called Sweatfager Trail. Here was a mockup saloon that acted as a prepping area for bands and other acts that would be featured on the main stage built onto the front porch.
The main stage hosted local and regional bands, comedians, various dance groups, and was used to announce the winners of the various raffles and announce other business. Each year the Roundup hosted a celebrity guest such as John Schneider at the height of his Dukes of Hazzard fame, Heather Locklear in 1983, John Ritter in 1993 and many others who would speak, answer questions, pose for pictures and sign autographs.
One of the corner stone acts were the cancan dancers who were an inextricable part of the Roundup’s entertainment, performing multiple times each day. Immediately following the cancan dancers the street would be cleared with attendees instructed to move to either side and a reenactment gunfight would be performed by specially trained actors. This usually involved a short skit of lawmen versus outlaws resulting in one side emerging victorious over the other in a dramatic shootout complete with realistic looking and sounding guns firing blanks, filling the air with smoke and the scent of gunpowder.
The most enjoyable part of the Roundup for me was the “jail.” This was the station I liked to work in the best. About midway down the Sweatfager Trail was a little jailhouse with a pen made with chicken wire inside of which were several long benches to house the “prisoners”. A sheriff was in charge of organizing the several volunteer deputies. The deputies, usually teenage boys were issued little tin badges and their job was to arrest random people from the crowd on whatever false or factual charges they could imagine. Wearing blue on the street, carrying a corndog with your left hand, or anything could serve as a charge. For a few bucks someone could fill out a warrant and have a specific target, a relative or a friend arrested. In most cases the people played along and went off to the jail in good spirits where for a dollar donation they could post bail, or hangout behind the wire and be a part of the show until being released after several minutes. I worked as a deputy a few different times, and one year my father worked as the sheriff. It served as a fun and lucrative fundraiser for the church.
Perhaps the most remarkable thing about the Roundup was how the whole community seemed to come together to support it. Local food and refreshment providers donated resources and time, businesses made donations of various products for raffles, and prizes for the Roundup Princesses (did I mention there was a yearly princess?). High school marching bands came out to perform. The McGuire’s Pipe Band performed each year. Local businesses would pay top dollar for advertizing either on strategically placed signs or in the Bellview Gazette, the Roundup’s annual news journal. One year Ted Ciano donated a new car to be raffled off. On top of that, it seemed like everyone in the Pensacola area attended. People came in from out of state to attend. It really was a sight that is impossible to describe adequately. This all resulted in St. Anne’s being the most financially successful parish in the Diocese.
Sadly, Father Lacari suffered a heart attack and retired in 1993. He died shortly afterward. His successor was never able to do justice for the Roundup or the church and it began to lose its brilliance until 2004 when Hurricane Ivan swept through, destroying Bellview Junction.
Since that time the church has been unwilling to even attempt to revive or rebuild the Roundup even in a revised form as they struggle financially despite a significant desire from the greater community for it to do so. It is now just another one of Pensacola’s lost legacies.
When I first started writing this article it was intended to be one of the first hints to begin promoting what would be a New Roundup at St. Anne’s beginning in 2019. It was an ambitious dream. I thought we were very close to achieving it, but for reasons outside the scope of this article the project was aborted. I decided to finish the article as a memory rather than as the pre-promotional it was intended to be.
Fidelium animae, per misericordiam Dei, requiescant in pace. Amen.
I was recently a guest on the Musician’s Guild, a great internet show run by Richard Dunlavy and Darryl Oehmsen in Pensacola, Florida where they discuss the local music scene and promote the various players and performers in it.
In this episode 5 of the series I was honored to be a guest on the show where I played a few tunes, talked about my musical upbringing and how and why I came to use the moniker Lojah for my music.
Florence Doisneau is a certified life coach, and the owner of Realize Unlimited, LLC. She assists clients in successfully defining and achieving their goals by supplying them with the tools and techniques they need to overcome the obstacles in their daily lives.
Florence received her Life Coaching certification in 2014 from Coach U, and graduated from their Advanced Training Program in 2016. She is also a certified practitioner of Neuro-linguistic Programming (NLP) through the Tad James Company, a certified Yoga teacher, and she has her Masters Degree in Management and Bodyworks from Ecole Peyrefitte.
She found her way to the vocation of Life Coaching through her own long and challenging journey during which she fought depression, anxiety, and social awkwardness in her own life. The tools she acquired along the way provided her with a much clearer perspective and a stronger resolve to create the fulfilling and joyous life she has always desired. This process inspired her to dedicate herself to helping other people overcome similar struggles.
Florence originally considered taking up the practice of psychology, but after some study found coaching to be the field which would better serve her clients. Coaching, she explains, offers tools and opportunities to enhance communication, and create more authentic connections with people. She agrees with the philosophy that psychology and Twelve-Step programs have their usefulness in understanding the prison of the mind, but Life Coaching provides the key which unlocks that prison cell so that her clients can truly live a free and successful life. “Coaching,” she explains “is about understanding YOU. It is a process of building your future. Through Life Coaching you get to design and REALIZE the life you want.”
Florence hails from Bordeaux, France. After living and interning in various other countries including Japan, England, and Spain, in 2013 she made the United States her permanent home. She currently serves her community through a local health and wellness center wherein she coaches clients on improving their lives through modifications in lifestyle, as well as by coaching through her own organization, Realize Unlimited.
Pub Songs on Palafox is a four song, lo-fi EP recorded in the raw as a live-air production that captures the energy and sound of a Jay Moody solo performance while busking downtown Pensacola, Florida in competition with the various sounds of a bustling city street.
Jay begins with a rowdy Irish pub tune, Dicey Reilly, about a lush of a woman who spends her life crawling from pub to pub; a sailor’s favorite. The Black Velvet Band is another classic Irish ballad about infatuation, deceit and injustice which takes us out of the pub and away from the Emerald Isle to a penal colony in Australia. Following up is Looks Like Jesus, a rockabilly-blues styled piece and a Jay Moody original tells the story illustrating the conflict between despair and ambition, shroud with esoteric imagery, set in the Southern atmosphere he calls home. Miss Constance concludes the record, a naughty Caribbean-styled tune about the perils of running with younger women.
Jay’s Creolized Swamp-Roots Music is a style deeply influenced by Caribbean rhythms, Celtic melodies, and blues.
Spring is finally here and I think the weather is actually going to stick around. It has been a little while since I last sent out an update, because I’ve been so heavily involved in working for Veterans Healthcare reform, and some pretty significant life changes that I let my regular updates slip by.
Well, I’m back at it again. So far 2016 is proving to be a great year for me and I have some really cool updates to share with you.
MY ARTIST PAGE
For starters I opened up my artist page on Lojah.com where you can view and purchase my personally hand painted artwork, inspired by Indigenism, nature, arcane symbolism and personal vision. It’s still in its formative stages but it’s going to be great as it grows.
THE MOODY VIEW
I consolidated my old blogs into a single blog called The Moody View, easier to follow and keep track of. It’s a place where I talk about art, music, culture and modern critiques. I’ll be covering a lot of my experiences as I create more art and further explore life.
I’m looking forward to hearing from you.
Link up with me by visiting some of my Lojah sites below.
[Update: Sadly, the Handlebar closed its doors for good in November 2018.]
The Handlebar is a hub of the Pensacola music scene. Located at 319 N. Tarragona St. the Handlebar has had a reputation for being a heavy metal and punk rock hangout. Due to the implications in the name, it has often been mistaken for a biker bar. The truth is that the Handlebar is a melting pot of styles and genre, with musical features which naturally include heavy metal and punk rock, but pop, folk and even country as well.
Ever since the bar first opened, the Handlebar has provided a stage for local and touring bands to perform and promote themselves. Some of the better known acts that have performed at the Handlebar include Run DMC, Black Flag and TSoL.
The Handlebar serves beer and wine in a single community room with plenty of open space providing a clear view of the stage. It’s a simple brick and mortar design splashed with black graffiti, decorated with vintage photos hanging crookedly on the walls. At the north end of the bar, opposite the stage sits a piano I’ve never seen played ornamented with a Pet Rose Plaque and a skull in voodoo fashion, capped with a bud light sign.
There is a single billiard table and jukebox that plays when there are no bands onstage. Typical selections include anything from the Dead Kennedy’s or Led Zeppelin to Johnny Cash and Elvis Presley.
The back courtyard of the Handlebar makes for great escape sometimes from the volume and activity inside. With two tables outside, patrons of the handlebar can enjoy their drinks, company and the fresh air of the mild Pensacola climate.
The Handlebar is a required stop in Pensacola if you enjoy the atmosphere and music of an underground music scene. It has been an active part of the Pensacola music scene for so long that anybody playing original music locally inevitably plays many shows at the Handlebar. It’s been one of my regular hangouts for years.
Many great historical chiefs are celebrated in Native American popular culture. The most commonly remembered names include Crazy Horse, Geronimo, Red Cloud, Tecumseh and Chief Joseph. Along with these belongs the 18th century Muscogee Creek chief Alexander McGillivray, a great man who is not as commonly spoken about, but is just as significant to both Native American and United State history as those formerly mentioned.
Alexander McGillivray was the principle chief of the Creek Nation near the end of the 18th century. He was the son of Sehoy Marchand, a French-Creek woman from the powerful Wind Clan. His father was the prominent Scottish trader Lachlan McGillivray who immigrated to Creek country in 1736 from Dunmaglass, Scotland, and spent the majority of his time in Little Tallassee and Otciabofa which was also called Hickory Ground  on the Coosa River. This is where Lachlan met Sehoy.
Lachlan secured lands amongst the Creek people near the ruins of the French Fort Toulouse close by Little Tallassee. There, he planted a garden and built a plantation house, naming it the “Apple Grove.” In time Lachlan became a wealthy trader, entrenched and well respected among the Indians.
When Alexander was a young man his father sent him to Charleston, S.C. to be educated in the British tradition. After returning to his home on the Coosa River, Alexander was honored as a chief on the Creek National Council and given the name Hopue-hethlee-Mekko or “Good-Child King.” Shortly thereafter he was commissioned a colonel in the British army and installed as the English Agent to the Indians. He donned the uniform of a British officer, with the headdress of a Creek chief, complete with the white feathers of his rank and led a faction of Creek warriors in the Battle of Pensacola.
Before long, Alexander rose to prominence, becoming the principle chief of the Creek Nation. Being a fan of European history, he preferred to use the term emperor, though his actual power in the nation was severely limited and somewhat tenuous. He was a frequent visitor to and property-owner in Pensacola, FL, negotiating treaties with the Spanish who were the dominant European power in the region. He led Spanish funded attacks on American frontier settlements in Georgia. After the American Revolution, McGillivray was invited to Virginia where he received a paid Generalship from George Washington in the United States army.
An eager capitalist, Alexander McGillivray was also an investor and silent partner in Panton, Leslie and Company who opened a trading post on McGillivray’s property, the first brick and mortar building established in Pensacola, FL. His first wife was Vicey Cornells who bore him two daughters: Peggy and Lizzie. His second wife was Elise Moniac, the sister of the Choctaw chief Red Shoes and they had three children: Margaret, Alleck and Elizabeth.
As a native statesman, McGillivray worked tirelessly throughout his career to create a Creek Nation recognizable and respected by European nations, but still distinctly Creek, distinctly “Indian.” Much like his Cherokee neighbors he succeeded, at least until 1830, when the Indian Removal Act was signed into law by Andrew Jackson, robbing the people of their lands.
In January 1793 McGillivray traveled to Pensacola for a business meeting with William Panton. On the trip he developed a fever and never recovered. On February 17, 1793 at eleven o’clock at night, in the home of William Panton, Alexander McGillivray died. He was buried in the garden of Panton’s house in Pensacola, laid to rest with full Masonic honors . Alexander McGillivray was such a loved and respected leader that he was mourned throughout the lands. His obituary ran in London in the Gentleman’s Magazine.
“Feb. 17. At Pensacola, Mr. McGillivray, a Creek chief, very much lamented by those who knew him best. There happened to be that time at Pensacola a numerous band of Creeks, who watched his illness with the most marked anxiety, and when his death was announced to them, and while they followed him to the grave, it is impossible for words to describe the loud screams of real woe which they vented in their unaffected grief. He was, by his father’s side a Scotchman, of the respectable family of Drummaglass, in Invernesshire. The vigor of his mind overcame the disadvantages of an education had in the wilds of America, and he was well acquainted with all the most useful European sciences. In the latter part of his life he composed, with great care, the history of several classes of the original inhabitants of America; and this he intended to present to Professor Robertson, for publication in the next edition of his History. The European and the American writer are no more; and the MMS of the latter, it is feared, have perished, for the Indians adhere to their custom of destroying whatever inanimate objects a dead friend most delighted in. It is only since Mr. McGillivray had influence amongst them, that they have suffered the slaves of a deceased master to live.”
 Hickory Ground; a very special town and meeting place within upper Creek Country. Creek; Ocē vpofv, also called Little Tallassee.
 It is believed that Alexander McGillivray was the first Mason in the State of Alabama. Some researchers claim that A.M.’s remains were shipped to Scotland and buried on his father Lachlan’s land.
 Gentleman’s Magazine, Printed under the caption: Marriages and Deaths of considerable Persons,” August, 1793, Vol. LXIII, London, p. 767
Lojah is a Native American-Irish folksinger from Pensacola, Florida. He describes his eclectic sound as Creolized Roots Music, influenced by Caribbean rhythms, Celtic melodies, and Southern American blues. His music is immersed in social realism, and arcane insight woven together with tongue-in-cheek witticism and a festive vibe. He is currently performing acoustic sets along the Gulf Coast.
“Pub Songs on Palafox” is a four song, lo-fi, EP recorded in the raw as a live-air production that captures the energy and sound of a Lojah solo performance as executed while busking downtown in competition with the various sounds of a bustling city street.
Lojah begins with a rowdy Irish pub tune, “Dicey Reilly“, about a lush of a woman who spends her life crawling from pub to pub; a sailor’s favorite. “The Black Velvet Band” is another classic Irish ballad about infatuation, deceit and injustice which takes us out of the pub and away from the Emerald Isle to a penal colony in Australia. Following up is “Looks Like Jesus“, a rockabilly-blues styled piece and a Lojah original that tells the story illustrating the conflict between despair and ambition, shroud with esoteric imagery, set in the Southern atmosphere he calls home. “Miss Constance” concludes the record, a naughty Caribbean-styled tune about the perils of younger women.