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BLACK PLACES AND SPACES: REBIRTH OF THE ROXY AND BOOMING BASEBALL LEGENDS BY CLARENCE THOMAS JR. | PHOTOGRAPHY BY DSTO MOORE The first in a series of articles exploring the history of local locations and their storied roles in Black culture. ROXY THEATRE The Roxy Theatre, near the corner of Hazel Street and Broadway, stands at one of the gateways to South Macon. A literal shell of its former self, the Quonset hut style building conjures up images of "back in the day" military barracks made famous by shows like "Gomer Pyle." But the style adds to the Roxy's allure — and its lore. It was built in 1949 at a cost of $75,000 by Phil Kaplan in Greenwood Bottom, one of several communities of thriving Black residents and businesses. The Roxy was only open nine years, but was a flashpoint of entertainment and economic prosperity for Black Macon at the height of desegregation. During its run, a who's who of music superstars and entertainers held court there, including Otis Redding, Little Richard and James Brown. When not hosting concerts, the theater doubled as a movie house, complete with refreshments. Legendary Macon music man Newton Collier remembers the Roxy for the fun it provided him as a youngster coming up in Macon and the gainful employment it afforded him as a young adult. The 76-year-old was reared in neighboring Tindall Heights and frequented the theater during the 1950s to participate in teen parties and watch movies with friends. Later in life, he graced its stage as a trumpet player for Johnny Jenkins and the Pine Toppers, laying the foundation for his music career with Sam & Dave, Otis Redding and Percy Sledge. The Roxy served as a safe haven and source of community for Collier. "It was the backbone of the Black theater district. It was surrounded by thriving businesses and served as a gathering place. It needs to be highlighted as a spot that brought Black people together," he said. The theater has experienced a resurgence of attention and notoriety the last few years thanks to Macon native Weston Stroud. The Piedmont Construction project manager began his crusade to reopen the Roxy while still employed with Macon Transit Authority. I f the walls of two of Macon's most recognizable landmarks could talk, they'd have a lot to say. What they utter would be invaluable and memorable for current and future generations, and may reverse a significant lack of knowledge about Macon's Black history. In turn, this knowledge may put the city on an increased path of empowerment and improvement for all residents. WESTON STROUD 66 maconmagazine.com | FEBRUARY/MARCH 2022