TCF President Isaiah Oliver sits down with Carol J. Alexander, TCF trustee, to talk about how she has used her time, talent, treasure, testimony and relationships to build a better community. Carol has been the driving force behind two local museums, Jacksonville’s Ritz Theatre & LaVilla Museum, and the A.L. Lewis Museum on Amelia Island. Her work has taken her around the world, as she played a key role in restoring the oversight of the reopening of the National Museum of Liberia in 2017, following a 14-year civil war there. “A city without art, music, fashion, or culture will stagnate,” Carol says. “Jacksonville, once lacking a clear identity, is now experiencing a renaissance, celebrating its rich artistic and musical heritage.”
Isaiah:
Welcome back to Forever Forward, a podcast from the Community Foundation for Northeast Florida. I’m Isaiah Oliver, President of the Community Foundation. Today, we’re welcoming one of our trustees, Carol Alexander. In addition to serving on the board, Carol is the founder of the A. L. Lewis Museum on Amelia Island and the founding executive director of the Ritz Theater in LaVilla. Carol, welcome! I’ve been looking forward to this conversation for a while. We have so much to unpack in a short amount of time, so let me start by saying—welcome!
Carol:
Thank you for the invitation to sit with the President!
Isaiah:
I love the way you said that—it makes me feel special. So, I want to start by asking: What brought you to Jacksonville?
Carol:
My late husband and I moved here in 1981. Looking back, it was part of the reverse migration. For years, Black families moved north seeking jobs, but after the energy crisis of ‘73, we saw a shift—people began returning south. Blue Cross Blue Shield recruited my husband, so we moved here. I’ll admit, I came kicking and screaming, but it was an opportunity we couldn’t pass up.
Isaiah:
So you’ve been here for 43 years. How did you become so deeply engaged in the community so quickly?
Carol:
I’m not sure if it was fast or just my need to understand the landscape and culture of the South. We initially lived on the Southside of Jacksonville, but as I traveled through the city looking for a church, I noticed the cultural differences between the North and South. At the time, I had a nine-month-old, and two years later, another child. My search for a church home led me to explore Jacksonville, its history, and its people. I started noticing the cultural distinctions within Black churches, and as I walked through different neighborhoods, I realized the Black experience here felt different from mine.
Isaiah:
As you explored Jacksonville, what was the turning point that shifted your trajectory?
Carol:
I realized there was a lack of cultural spaces—no real hubs for Black art, music, and history. We had Black radio, though, so I gravitated toward that. My first job here was as an account executive for WP DQ, one of only two Black radio stations at the time. That experience gave me insight into the business community and the lack of cultural gathering spaces. My general manager, Sarita Tinsley, mentioned a community event they used to have in Louisville called Come Together Day. We brought that idea here, organizing an event where Black radio stations collaborated, local bands performed, and the Black community came together. That experience solidified my passion for creating cultural spaces.
Isaiah:
I’d love to ask you to choose between The Sound of Philadelphia and Motown, but I won’t put you on the spot! Instead, let’s talk about your experience in LaVilla. Can you share how you got involved with the Ritz Theater and how you created a space for Black art and culture?
Carol:
That journey started before the Ritz. Early on, I met Cleve Warren, Lydia Stewart, and a few others, and we formed an organization called MECCA—Museum of Education and Cultural Arts. We set up tables, showcased art and artifacts, and educated people about Jacksonville’s Black history. I also became involved in my children’s education, introducing Black history programming in their private school.
That passion for education and history caught the city’s attention. When Mayor Delaney took office, the city was looking to revive LaVilla and reopen the Ritz Theater. They sent me around the country to study similar projects, and when I returned with a report, they asked if I would lead the effort. I had never even built a house before, but suddenly, I was tasked with overseeing the design and construction of a cultural institution.
Isaiah:
That must have been an incredible learning experience. Let’s talk about the broader impact of your work. You were an outsider at first, much like me—I’ve been here for over 500 days and counting! Yet, you became the person to unearth Jacksonville’s cultural narratives. How did you do that?
Carol:
It wasn’t immediate. I moved here in 1981, but I didn’t get commissioned for the Ritz project until the mid-90s. And to be honest, I’m still considered an outsider! But my motivation was personal—my kids. I wanted them and their peers to have a space for artistic expression.
When we opened the Ritz, funding was limited, and navigating city bureaucracy was challenging. So, I immersed myself in the community, bringing in local talent. Amateur Night at the Ritz became a staple—$5 tickets made it accessible for families, and it gave young performers a stage. We also developed a behind-the-scenes program, training Black stagehands, lighting technicians, and crew members, which led to breaking barriers in local unions.
On the museum side, we focused on telling Jacksonville’s Black history. Lydia Stewart, who had started Through Our Eyes at WJCT, brought it to the Ritz, giving Black artists a platform to showcase their work. We also worked with the Sally Corporation to create animatronics of James Weldon Johnson and John Rosamond Johnson, ensuring they were represented authentically.
Every initiative at the Ritz was about education, preservation, and community empowerment. The impact wasn’t immediate, but 25 years later, I see the legacy of what we built.
Isaiah:
You’ve taken us on a remarkable journey—from Philly to Jacksonville, from Black radio to the Ritz, from research trips across the country to curating Jacksonville’s cultural history. Your work has shaped how the community sees itself. Thank you for sharing your story, and more importantly, for the lasting impact you’ve made.
Carol, philanthropy is often framed in terms of financial resources, but we rarely discuss the impact of time, talent, testimony, and relationships. Your story exemplifies how people invest in their communities beyond money, shaping narratives and fostering connections. You played a key role in preserving the Ritz Theatre, a landmark still serving the community today. I’ve often heard it called “Carol’s house.”
In 2017, you reopened the National Museum of Liberia after the country’s 14-year civil war. How did your experience with the Ritz Theatre lead you to this work abroad?
Carol:
After leaving the Ritz, I created the American Beach Museum in 2014. Unlike institutions in the National Association of Museums, both the Ritz and the American Beach Museum had to make do without standardized resources.
Much of Jacksonville’s history revolves around figures like A.L. Lewis and James Weldon Johnson. My family was deeply connected—The Beach Lady, a key figure in American Beach history, was A.L. Lewis’ great-granddaughter and the sister of Dr. Johnnetta Cole. Johnnetta had transitioned from education to the Smithsonian and guided me in securing grants to uphold museum standards.
Then came Liberia. I traveled with Johnnetta, who was being honored by President Ellen Johnson Sirleaf, the first female head of state in Africa. She took us to see the National Museum, which had been left in disrepair. As we stood inside, Johnnetta, accustomed to Smithsonian standards, was dismayed at the conditions—no air conditioning, bare walls, and broken windows. When asked for ideas, I suggested practical solutions based on my experience. President Sirleaf asked if I could oversee the restoration. Initially, I planned to stay a week for an assessment, but I ended up staying for nine months, working closely with the community to tell their story through history and art.
Isaiah:
I jumped from the Ritz to Liberia, but in between, you established the American Beach Museum. I want to discuss its current exhibit—Sankofa.
Carol:
Sankofa is an Adinkra symbol from the Yoruba culture, often depicted as a bird looking back while retrieving an egg. It means “to look back and retrieve in order to move forward.” This year marks the 90th anniversary of American Beach and the birthday of The Beach Lady.
In 1935, A.L. Lewis, president of the Afro-American Life Insurance Company, purchased 33 acres of land to create American Beach, providing Black families with recreation and relaxation without humiliation—an alternative to segregated beaches in Jacksonville. Over the next year, they expanded to 100 acres, making it a vital space for Black community life and entertainment.
Isaiah:
Desegregation reshaped American Beach. What impact did it have, and what can we learn from that transition today?
Carol:
Between 1935 and 1964, American Beach was thriving—one of the hottest Black resorts in the country. The biggest entertainers performed there, from Duke Ellington to Cab Calloway. Artists who honed their skills in Jacksonville’s LaVilla neighborhood would retreat to American Beach for jam sessions and leisure.
Then, Hurricane Dora hit in 1964, destroying many homes. Shortly after, the Civil Rights Act passed, allowing Black citizens access to formerly segregated spaces. While a victory, it also led to the decline of Black-owned businesses and institutions. American Beach became quieter, and in the 1970s, developers targeted nearby Franklin Town, displacing its historic Black community.
In 1975, The Beach Lady, Marvin Bethea, returned from a career in Germany to protect American Beach’s legacy. She never left. Her advocacy preserved the land and its history, ensuring future generations remember its significance.
Isaiah:
Looking ahead, what advice would you give to the next generation of Jacksonvillians about embracing their history and moving forward with purpose?
Carol:
Home is where you blossom. Jacksonville is my home because I grew here. Over 43 years, I’ve witnessed a new generation emerge—leaders who have shaped the city’s cultural and artistic identity.
A city without art, music, fashion, or culture will stagnate. Jacksonville, once lacking a clear identity, is now experiencing a renaissance, celebrating its rich artistic and musical heritage. We have opportunities today that didn’t exist before—magnet schools, cultural initiatives, and platforms for showcasing talent.
If you had asked me 25 years ago, I wouldn’t have been so optimistic. But today, I see a city embracing its history and culture. My hope is that young people will engage with this documented history, using it as a foundation to shape a future that honors the past while forging a new path forward.
Forever Forward is a podcast created by The Community Foundation. You can find our podcast on many popular podcast platforms, including the Podcasts app for Apple and Google podcasts app. You can also find the podcast episodes here on our blog, and listen directly from your browser. However you like to be informed, we hope you enjoy listening.
Questions? Email Stephanie Garry Garfunkel at sgarfunkel@jaxcf.org for help.