Clemmons Resounds with Energy and Experience

Author: Sadie Hoagland

Francois Clemmons, Twilight Artist-in-Residence and Choir Conductor, has brought much to the College community over the years. Many of us think of him for his spectacular renditions of American Negro Spirituals that routinely awe Mead Chapel's crowds. Yet many students may not know that Clemmons also spent 27 years as Officer Clemmons on Mr. Roger's Neighborhood, as well as seven seasons with the Metropolitan Opera or that he won a Grammy in 1973 for his performance in Gershwin's "Porgy and Bess." This man has had a truly amazing career and is one of Middlebury College's hidden jewels. The Middlebury Campus tracked him down to get the details on everything from Mr. Rogers to his more current projects.

The Campus: It sounds like you've had quite the career...

Francois Clemmons: "I've done a few things..." (laughs)

The Campus: You've been singing since you were very young?

F.C.: Well, in my mother's womb, I like to say that, she sang spirituals around the house, and so I came into the world and whereas other kids were singing "Row, Row, Row your Boat," I was singing American Negro Spirituals - and when I sing now I hear her voice in my head.

The Campus: At one point did you decide to make singing into a career?

F.C.: The short answer is, it was obvious from the beginning of my life.

The Campus: So I used to watch Mr. Rogers and I have to ask, how did you get your start on the show?

F.C.: I've thought about what a great blessing it was to meet him [Fred Rogers]. Literally he was my fan, he wanted to hear me sing, so I remember going to his studio and watching him work. It was the first year he was doing Mr. Roger's Neighborhood, 1968, and all I could think about was well, this is nice and I'll do it from time to time, but I really want to sing at the Metropolitan Opera (laughs). I was such a naÔve kid. I didn't realize what the universe was giving me on a gold platter, and he wanted me to sing on his show. Well, I agreed because I also needed to make some money. I don't think it's an exaggeration to say he was the kindest person I've ever known. He became my surrogate father, and I spent holidays at his house. He sent me on three trips to Europe to audition and to sing because my parents couldn't afford it.

My life began to revolve around the show. A lot of times you live by things that you're planning, you go ahead and do those things, but it's the accidents that happened that really formed the foundation for my career. My saying always was that I started at the top. Now that sounds crazy because it wasn't financially at the top. We weren't the most popular show in the world, but from the standpoint of integrity and high quality commitment, it's the best experience I've ever had. I started at the top.

The Campus: You are also known for founding the Harlem Spiritual Ensemble. How did that come about?

F.C.: Yes, well, I always had this desire to do more, and when I realized I was not going to be the star on Mr. Roger's Neighborhood, I looked around for something to do. When we traveled around, I'd go to the Handle Society, the Wagner Society to hear what they were performing, and I'd say how come there is no American Negro Spirituals being performed in Utah or Arizona? And some of it was obvious, but on the other hand, I still couldn't figure out why Detroit didn't have a professional organization, or other cities that had a large black population, Atlanta. And if I'm the one that saw the need, or the vacuum, I hadto fill it. Some people thought it would be too controversial because of our racial history in this country and that slavery is an issue you can't bring up and talk about.

I didn't find any of that to be true. What I found was that people wanted a quality product - sing them well, sing them in an interesting fashion, and we literally sang them all over the world. It was just so amazing. I had no idea when I started that group the kind of success we would enjoy. All the time I felt what a sacred commission I had been given to be the one to do something like this and to try to give people a quality experience that they would carry in their hearts forever.

The Campus: How did you end up here at Middlebury College?

F.C.: Well, at one point Susan Stockton came to me and said Middlebury College would like you to do J-term, would you be able to teach a course in American Negro Spirituals? I liked the idea, and I came here. Well, they asked me to come back a second year and a third year. I think this will be the seventh year I've done the January term. After that the College came to me and said, "Would you like the choir full time?" I wanted to stop traveling so much. I wanted to settle down, and I love it up here because I love what I'm doing. I love the people more than anything - the weather is not the world's best. It's cold in Vermont, and the winters seem to go on interminably, but when you're doing something you love, it changes your view of the weather.

The Campus: And you've started some new projects...

F.C.: Yes, I have. I started last year this project Studio 104. All that out in Vergennes and some places in between, I feel there's a certain neglect, particularly in the arts. So I decided to start covering it. How could I make a contribution back to the larger Middlebury community. After 27 years on television, I feel that that's probably the thing that I'm most adept at and comfortable with in addition to just plain singing. And I'm interested in architecture, glass blowing, painting, dance, everything - theatre - to do with the arts. So I decided to put together this little production company that would go around and record the arts in this community and show it on MC-TV. I had no idea how much time it would involve, but I have to say the College has been very supportive. For example, I've interviewed Gov. James Douglas, as well as Dick Forman - he's a pianist, a jazz pianist, who works here at the Center for the Arts. This Friday we're going to Burlington to film at the Flynn. They're doing "Porgy and Bess." I'm going to do a lecture before the concert, which we're going to film. But that's what my Studio 104 would do - nobody else here is covering "Porgy and Bess" at the Flynn. Maybe most of the kids don't even know about it! That's how I feel Middlebury just doesn't have enough focus on the arts. Some of the students are so focused on being academically proficient that they don't take time and breathe and smell the roses. I'm constantly saying to them,"Take some time off and come to a concert." But I think the arts need a little more profile, so that's what Studio 104 is about. I wish that the arts had the same emphasis here that athletics have. Support the arts the same way you support the hockey team - that's my goal here.

I really feel that I'm here as a kind of an ambassador for the arts for Middlebury College. I will say that for the most part the faculty, the staff and the students are very cooperative. I feel good [laughs] - being in their face about the arts.

The Campus: So has this inspired the New Gospel Choir that's getting underway?

F.C.: Yes, the Gospel Choir is definitely a student-generated idea. The word is beginning to get out. So far we've had a lot fun. It's very rewarding emotionally, psychologically, spiritually. I think the Gospel Choir is going to eventually be a very important part of this community. I want us to grow strong enough so that we can sing for the Martin Luther King, Jr., breakfast in January.

The Campus: So, out of curiosity, do you sing when you're just hanging out, now that you sing professionally, or do you save it for performances?

F.C.: I don't stop singing. I sing all the time. I'm rehearsing tomorrow. I do enough continual singing to perform. However, I have this curse in that I hear music in my head. I hear the Verde Requiem, the Messiah at Christmas - I hear i
t now and I can't turn it off. I don't try to turn it off. So when I try to explain to people why I don't just walk around singing all the time, I hear so much music in my head!

If you are looking to get more involved in the arts, or want to see more of Clemmons, Studio 104 airs Wednesday nights at 7 p.m. on MC-TV (channel 15). The New Gospel Choir meets Thursday nights at 7 p.m. in Mead Chapel, where anyone is welcome (no tryouts)!