Labyrinth

  During my time in Tuscaloosa, I lived in the student ghetto of houses and apartments behind The Strip of shops, bars, and restaurants on University Boulevard near the campus. Bryce and Partlow state mental health facilities were just past the campus and group homes and halfway houses were scattered among the student housing.

One particular resident, who stood out since he was always wearing a football helmet, had a routine which fascinated me. I would regularly see him start at one end of a block-long parking lot behind The Strip and walk a straight line to the other end. He would stop for a moment, turn, and walk precisely to the middle of the parking lot, stop, turn, and once again cut his previous distance in half. He would do this until the distance was so short that he would finally almost turn in a circle a few times. Finally, he would stop, mission completed, and go on his way. I watched him do this ritual on several occasions; his precision was prodigious.


Breathe, contemplate, take the first step … I have recently started walking labyrinths.

And even though I don’t classify walking a labyrinth the same as the helmeted guy’s routine, I do think about him on occasion when I am going through my labyrinth ritual.

I have always needed solitary meditative activities for my spiritual wellness and a labyrinth seems to fulfill that need. The symbolism of the activity – walking a unicursal path to the center and back – almost demands a contemplative state of mind. Since a modern labyrinth is not (usually) a maze, there is no need to think about the curves and turns of the path – one just goes with the flow.

I find the experience of walking a labyrinth akin to the feeling of visiting and walking the length of Tom Hendrix’s Wichahpi Commemorative Stone Wall off the Natchez Trace Parkway near Florence; the simple activity stirs a variety of thoughts and emotions along the way. Mr. Hendrix’s symbolism of a relative’s journey on the Trail of Tears becomes entangled with the visitor’s own thoughts and emotions in the moment.

The labyrinth has existed in various forms throughout cultures and history. In Greek mythology, the labyrinth was a complex maze used to contain the Minotaur.

It seems that the principal models for the contemporary labyrinths I have found are those found within medieval cathedrals. The labyrinth at the cathedral at Chartres is the most cited example and there are a number of versions of how it was used and what it symbolized within the medieval Christian church. Some sources assert that it symbolized the pilgrimage to Jerusalem but that seems to be a post-medieval concept.

Nowadays, modern labyrinths are found at churches, hospitals, wellness facilities,  educational institutions, private homes, and other locations. They seem mostly used for meditation, prayer, and focus; the symbolism is personal.

There are no rules for labyrinth walks but there seem to be traditions. It is traditional to take one’s shoes off, if practical, before entering the labyrinth. Take a moment to contemplate before embarking on the path. When the center is reached, take a moment before turning around and going back to where you began; it seems traditional to leave something behind in the center – a coin, a stone. When the labyrinth is completed, turn back and look at the path you have taken. Deep breaths at key points are recommended.

I have started taking the time to walk a labyrinth on my way home from work when I am able. It allows me to disconnect from the stress and the job and re-focus on other things I need to deal with.

There is a website, www.labyrinthlocator.com, that helps find labyrinths in any location. Once I found the website, I was surprised at how many there are and realized that I regularly pass labyrinth locations without realizing it. The World-Wide Labyrinth Locator database lists over 5300 labyrinths in over 80 countries. Twenty-nine are listed in Alabama and I have recently learned of one more, not listed, in Birmingham.

The one I just discovered is located at Trinity United Methodist Church in the Birmingham suburb of Homewood. It is a part of the church’s Prayer Garden and Columbarium. The church is on a busy road but the garden is below street level and that location, plus a trickling fountain at the entrance, filters out the street sounds and provides an added element of privacy to the space. The fact that the labyrinth is in front of a burial space makes it even more serene and introspective.

Walking the labyrinth, for me, is a compressed version of taking a contemplative nature walk. I find it calming and sensory. Since you can’t get “lost” walking a labyrinth, it becomes a “right brain task,” and a thoughtful exercise, like cutting the grass or sewing a button. (Or swimming laps, if you’re a better swimmer than I am.)

Such activities center me, somehow.

Breathe, contemplate, take the first step

Victuals

 For Americans of my generation, the word “victuals,” pronounced ‘vi-dls and sometimes spelled “vittles,” conjures up images of Granny Clampett of “The Beverly Hillbillies” cooking up something for Jed and the family. My own Grandmother Harbison occasionally used the word to refer to the scrumptious real food she was always preparing.

The word comes to us, after some alterations through French and English, from the Late Latin victualia meaning provisions for human consumption. My grandmother’s use of it probably harks to her Anglo-Saxon roots filtered through Appalachia. Those Anglo-Saxon roots are also likely the reason she sometimes still used the word “poke” to refer to a sack or bag.

These memories were conjured by the book I just read. I enjoy cookbooks that read like a narrative and few cookbooks fulfill that purpose as beautifully as Ronni Lundy’s Victuals: An Appalachian Journey, with Recipes (New York: Clarkson Potter / Publishers, 2016) with photographs by Johnny Autry.

Victuals explores and extols the foodways of the Southern Appalachians. The book has agendas: sustainable farming and environmental concerns come through loud and clear. But ultimately it is a celebration and explanation of a part of the country and a way of living that is sometimes undervalued and marginalized.

It is ironic that the trendiest chefs and food styles are discovering a way of food and living that has never gone away in the southern tangents of the great eastern mountain range. John Stehling of Asheville’s Early Girl Eatery observes, about southern Appalachia, “This place and its food have never died off, and it inspires me.” Indeed, a 2011 study declared southern and central Appalachia “the most diverse foodshed in North America.”

Lundy is among the founding members of Southern Foodways Alliance and has written extensively on Southern food, culture, and roots music over the years. With Victuals she digs deep into Appalachian roots in eight distinct, beautifully written, and well-documented sections which present stories, recipes, and individuals as well as document the threats that menace the noble and well-established way of living in the region. The sociology of Victuals is as compelling as its culinary focus in sections with titles like “Roots and Seeds,” “Apple-achia,” “Preserving,’ and “Husbandry.”

Victuals introduces the reader to a variety of farmers and butchers, chefs and cooks, purveyors, environmentalists, and food experts throughout the region. Many faces are new and others are familiar names like Chefs Sean Brock and John Fleer, and Chef Erik Neil of Chattanooga’s Easy Bistro and Main Street Meats. I was pleased to see a mention of Big Horse Creek Farm in Lansing, North Carolina, where a few years ago Suzanne and Ron Joyner were able to hook me up with some of the Hackworth apples that my mother remembered from her youth in Cullman County, Alabama.

Johnny Autry’s enticing photographs set one’s mouth to watering even before the text can be read. Soon after I received the book I casually opened it to a photo of English Pea Salad with Cream Dressing; it made me long for a taste and brought up memories of a long-forgotten dish. The recipe for Spiced Pickled Peaches makes my longing for the start of the spring Chilton County peach crop in a couple of months even stronger. There is even a mouth-watering section about chili buns and slaw dogs.

Other recipes inspire new ideas, such as “Buttermilk Cabbage Soup with Black Walnut ‘Pesto’” or “Ginger Bean Chowchow.” There is a piece on greens that is as informative as anything I’ve ever read about those Southern standards.

Lundy’s exploration of Appalachia extends from southern Ohio and West Virginia to northern Georgia. She does not include the southernmost Appalachian regions of northwest and north central Alabama but much of her reportage rings familiar to what I know and other segments, going deeper into the heart of the region, hold surprises.

Lundy is confronted with and explores the idea of “aspirational eating” – a foodways theory that suggests that the move from home-grown foods to convenience foods and commercial products was fueled not by convenience, availability, and taste but by the “aspiration” of the region to be more like the mainstream families seen in print ads and on television. This is apparently a new concept to Lundy (as it was to me) when she is first asked about it by an oral historian, but as she encounters the idea more she feels compelled to consider and address it.

Her best response comes from one of her book’s subjects, Walter Harrill, who owns Imladris Farm, near Asheville, with his wife, Wendy. Lundy says the Harrills have become the Asheville area’s premium suppliers of locally crafted jams and preserves. When asked about “aspirational eating,” Harrill muses:

“See, I think assuming ‘aspirational’ for a motivation assumes that those of us living here, in the mountains, are trying to be a part of the world ‘out there’. But the truth of it is, we look ‘out there,’ at the rest of the world, and then we kind of shake our heads and say, ‘Well, I just hate it for them’.”

Victuals is full of that kind of true and direct mountain wisdom.

Red State BBQ; Lexington, Kentucky

 “You’re up next, baby.”

Those are words that, when spoken by a grey-haired waitress in a barbecue joint, give a thrill of anticipation that what is coming up next will be something to remember.

During my recent trip to Lexington, Kentucky, I decided to check out listings for barbecue places while I was searching out a downtown place to have dinner.

The listing for “Red State BBQ” made me smile. I am a progressive liberal from what is designated a solidly “red state” and the whole “red state / blue state” dichotomy and discussion is a source of irritation for me. However, I admire the restaurant owner who has the cojones to name a place “Red State BBQ” and suspected that I would be pleased with the product. Truth be told, I rarely seek out barbecue in “blue” states.

And I never mix my politics with my barbecue.

Most of my Kentucky barbecue experience is based around Owensboro while I was living in southern Indiana. Moonlite Bar-B-Q Inn in Owensboro is almost a rite of passage if you’re in that part of the Ohio River Valley and barbecued mutton is distinctive to that part of western Kentucky.

Being new to Lexington, I wasn’t sure what to expect from the local eastern Kentucky ‘cue. I soon sensed that, much like Alabama, Kentucky barbecue is more local than regional and variety is the key.

On Sunday morning, I checked out of my hotel and drove out of Lexington on Georgetown Road in search of Red State BBQ. Leaving the more commercial and industrial part of town I began to pass miles of wooden fencing and farms with horses grazing in idyllic settings. Eventually a long and low-slung building appeared up the road. It was alongside the driveway entrance to the Sunset Motel and sported a bright red “Red State BBQ” sign.

I was a little early and saw a lady looking out the window of the restaurant at me. I decided to drive on in to Georgetown and back and see what I could find along the way.

By the time I got back to the Red State parking lot, another car was waiting. We sat for a few more minutes until the restaurant’s OPEN sign flashed on and the lady who had been looking out the window at me was standing behind the counter taking our orders. Mine was the second order for the day and, by the time I finished, several more had lined up behind me.

I don’t like to eat a heavy meal before a long drive and so I ordered quickly. Later I wished that I had studied the menu and daily special more. There was a brisket special and I realized as more and more people ordered that the Red State brisket is quite popular with the locals. As a pork guy, though, I went with two porks – ribs and pulled.

For my two sides, I definitely should have thought longer before ordering; I wanted to try items I didn’t eat often and ordered beer cheese grits and corn pudding. It was only after I sat down at a table that I realized I had ordered two corn-based sides. And a corn muffin. Oh well.

There was a wait but it gave time to soak up the Red State ambiance which included white walls and ceilings covered with names and messages written in multi-colored hues of markers. There were windows all around the dining room and sunlight poured in on a bright morning. Random items hung along the walls, various what-nots were here and there, and a horse theme was prevalent.

Coca-Cola cartons on each table displayed a variety of regional sauces to choose from: Memphis Sweet; Texas Spicy; South Carolina Mustard; North Carolina Spicy Vinegar; Kentucky Small Batch; and Alabama Show Horse.

Of course, the “Alabama Show Horse” was that white mayonnaise-based Morgan County sauce that I don’t like and that I don’t think truly represents the state – just the Tennessee Valley part of the state. Nevertheless, I was proud that Alabama was included in the parade and the South Carolina Mustard and Alabama Show Horse provided a definite variety to the collection of mostly red sauces.

I squeezed a small sample of each sauce onto my fingertip while I waited but I knew that I was bound to use the Kentucky Small Batch on my meal. This was a complex, slightly thick concoction with a bourbon and vinegar base and a lingering (but not cloying) sweetness from what I guessed was brown sugar and molasses.

My plate arrived with a nice portion of pulled pork and two ribs. Red State uses a dry rub on the meat and that taste was complemented by a drizzle of Kentucky Small Batch that added a warm spicy bite. I used the sauce sparingly but liked the way it clung to the meat.

The ribs were small and tasty with a deep dark bark, the pulled pork was smoky and not very moist, and the scoops of grits and corn pudding and a corn muffin were good on the side along with a tall glass of sweet iced tea. I only regret that I didn’t substitute a corn-based side with cole slaw or greens.

I was anxious to hit the road and the meal filled me up but I should have sampled the desserts. Especially tempting were the Sav’s bourbon-flavored ice creams including Bourbon Chocolate, Bourbon Vanilla, and Bourbon Ball Chocolate, and the Peach Bread Pudding.

But one can only eat so much on a quick stop before a day of driving and I headed back into horse country, leaving behind a spunky barbecue joint which I enjoyed but will likely never see again. It was a smart choice for a final taste of Lexington.

Discovering Lexington and The Village Idiot

  LEXINGTON, KENTUCKY. I am an erstwhile horse racing fan, meaning that I follow the Triple Crown and check in on news about Bob Baffert, my favorite trainer, a few times a year. So I was intrigued to pass Man o’ War Boulevard and Keeneland Race Track as I drove into Lexington, Kentucky, for the first time.

Since 1983 I have regularly attended the annual Southeastern Theatre Conference (SETC) convention in early March. Several thousand students, academics, professionals, amateurs, beleaguered supportive parents, and a little bit of everything else one can find in the theatre and media converge on a conference center and spend five days jamming elevators, food courts, and hotel bars and restaurants as they audition, exhibit, network, perform, and choose from hundreds of panels and workshops.

SETC is the largest theatre conference in the United States. I was pretty fresh and young when I started attending, first as a stage manager for a community theatre production in competition, then as a job hunter, and later as a director and casting associate at the three days of actor “cattle call” auditions. Now, I go as an educator and a member of the Southern Theatre magazine editorial board.

It’s inspiring and invigorating in the first hours but by the time I attended a Friday afternoon editorial meeting there was a delayed response in the room and the sense of overload was palpable on most of the participants. SETC sessions start early in the morning and go until after midnight so it is perhaps a younger person’s game more that it’s mine. Still, I press on, up and down the escalators, past the horse-inspired fountain.

Most of my Kentucky sojourns focus on Louisville so it’s good to check out a new part of the state. The conference begins to wind down by Saturday afternoon so I usually set aside some Saturday time for unwinding and exploration of my own. I arrived in Lexington after a cold front passed through on Wednesday and my Saturday morning post-breakfast walk was a chilly and brisk one. By Saturday afternoon things had warmed up nicely, though.

Among the Victorian buildings comprising an area called “The Square” across from the conference center is the visitors center proclaiming Lexington the “Horse Capital of the World.” And, of course, University of Kentucky blue is everywhere. I can see two houses with connections to Mary Todd Lincoln and her family from my hotel room – one of them is next door to Rupp Arena. And I have caught myself humming “My Old Kentucky Home” more than once.

From my hotel window, I spotted a pedestal with a statue atop it. I ventured down Main Street to find that the mystery man on the 120-foot pedestal is “The Great Compromiser” and 19th Century statesman Henry Clay. He and his wife, Lucretia Hart, lie beneath the imposing monument in the dignified old Lexington Cemetery.

Because of the demands of the conference, many meals are grabbed on the run. A few years ago, however, my friends Janet and Russell and I started meeting for a relaxing dinner on Saturday night of the conference. I have known them since I lived in Jackson, Mississippi, and we always have a lot of catching up to do. More recently, my friends Kitty and Patty – both of whom go back to my graduate school years in Tuscaloosa – joined the crew.

Since I don’t know Lexington I decided to do a web search of dining near the hotels. I kept coming back to a place called The Village Idiot, which sounded ideal, with a varied and interesting menu to please a variety of tastes. I made a reservation and was a little nervous since it was my first time to book a restaurant for this group before checking it out in advance.

Not to worry. The Village Idiot is a new-ish gastropub in a circa 1825 former post office building. It is a three and a half story structure divided into several cozy bars and dining rooms. The menu is locally sourced and adventuresome and our party was pleased with every bite – starting with a shared artisan cheese plate.

I launched my main meal with a most generous dried fig and country ham “side salad.” Most of us had the New York strip but there was a very tempting pulled pork mac and cheese entrée. I thought seriously about ordering duck and waffles, The Village Idiot’s response to the chicken and waffle entrée that is ubiquitous on Lexington menus.  We finished feasting with a huge bourbon-sauced bread pudding with five spoons so we could share.

“The Purge,” a house drink combining Buffalo Trace, Ancho Reyes chili liqueur, ginger, and lemon was another popular hit at our table.

Head Chef Jason Richey and Chef de Cuisine Eric Angelo have their fingers on a fine balance of taste, variety, freshness, and style. Jeff, our waiter, was knowledgeable, charming, attentive, and eager to share with us “theatre folk” his theatre experiences back in high school.

I was relieved by the end of the dinner when our group declared The Village Idiot a great choice. After an exhausting conference, The Village Idiot was both invigorating and relaxing. We made it an early night since we all had long drives the next morning.

SETC is in Mobile next year. Before the group went our separate ways, we agreed that next year’s Saturday evening dining will be at one of my favorites – The Wash House, across Mobile Bay in Point Clear.

I guess I have a few more conferences left in me before I’m put out to pasture..

Wanderlust: My Grandfather’s Travels

leonard-harbison-photo  My maternal grandfather, Leonard C. Harbison, was a wanderer all of his life. When I was young, he and my grandmother, Eula McCarn Harbison, lived in Fairfield Highlands in the western suburbs of Birmingham. From their house, you could see the Fairfield Works of U.S. Steel and the Ensley Works in the distance.

When Grandmother would hang clothes on the line to dry, she’d walk up and down the line with a damp rag to clean off the industrial soot. Even though it was bad for pollution, I loved to watch the robust factory activities, the trains coming and going, the smoke rising into the sky, and the orange glow when molten steel was poured at night.

Their street dead-ended at land that belonged to Woodward Iron and Granddaddy loved to take a walking stick, a dog, and a grandson on hikes along the creek in the wooded property. He had five grandsons in all and when one outgrew the walks, there would be another to fill in. When my brother was very young and I was a teen, I heard Granddaddy tell Grandmother “I like them when they’re that age. When they get older, I don’t have much use for them.” It wasn’t personal; he always had a sense of wonder and a love for nature and animals and he found that the younger boys would tend to get more excited about sharing it with him.

The federal interstate system eventually claimed the Fairfield Highlands house for right of way for I-20/59 but if you know where to look from the interstate — near the Allison-Bonnett Parkway / Jaybird Road exit – you can still spot a large oak tree that was in the backyard of that house. I used to climb that tree.

When the interstate moved in, my grandparents moved closer into Birmingham in the Central Park neighborhood. There was less space for nature walks but Granddaddy still would take a stick and a dog and walk the alleys of the neighborhood and sometimes over to the nearby Bessemer Super Highway to go to the pharmacy, to the grocery store, or to get a haircut.

Granddaddy often talked of his travels as a young man but nobody showed a lot of interest and I don’t remember a lot of the details. I just knew that he had travelled a great deal before he married and remembered comments about making tires in Ohio, working the oil fields in Oklahoma, and working on movie lots in California. He mentioned working with Tom Mix, a silent film actor who was the first “King of the Cowboys.”

Mother recently rediscovered a newspaper article about Granddaddy Harbison that was published in The Cullman (AL) Times in 1997, four months before he died. Under the headline “One Roaring Twenties Train Ride Was Enough for Young Hobo,” the article profiles some of Granddad’s adventures when he was a young man. Some of the time lines seem a bit skewed but he was recounting memories from seventy and more years earlier and small inaccuracies are to be expected.

Granddaddy grew up on his parents’ 500-acre farm in Trade, Alabama, in Cullman County. Charlie and Mary Lott Harbison farmed and raised livestock and Leonard, the second youngest of fifteen children, recounts idyllic days on the farm and hanging out at Luther Perdue’s general store.

He talks about hopping trains and “hoboing” – a popular activity for many young men (and some women) during that time. Woody Guthrie is perhaps the most famous proponent of that lifestyle. I was surprised to read that Granddaddy’s total “hobo” history consisted of one short trip from Cullman to Birmingham and back. He says that he met up with a “Yankee hobo” in Cullman and rode on top of the train, ducking for tunnels and overpasses. By the time he got to Birmingham, he had seen enough of the world and was ready to turn around and go home.

But his wanderlust continued and soon after his hobo adventure he moved to Akron, Ohio, working in the Firestone tire factory. After returning to Alabama from Akron comes the most intriguing part of the travel lore. Leonard, along with a brother, cousin, and friend, hopped in a Dodge and headed out west. I know he spent time in Oklahoma, Oregon, and California and he often mentioned Tom Mix and those Hollywood studio lots.

Why don’t we think to listen more when we’re young? I would love to hear more about the western travels – and especially about the movie lots – but at the time it just seemed like listening to somebody talking about the “olden days,” as we referred to them. My students now tend to say “back in the day” if I start to reminisce.

My grandfather loved all animals and he loved to hunt. He always had hunting dogs in a pen in the backyard of his Fairfield Highlands house. He was one of those southern hunters who was not that interested in the kill but in the “chase.” In fact, I’m not sure he carried a gun on his hunting trips. Instead, he and his hunting buddies would stay up all night drinking coffee by a camp fire and listen to the dogs run; they recognized the individual barks of the hounds and would listen to the chase until dawn. If the barking got too distant, they’d pick up and move to another location and listen.

His love of hunting is mentioned in that newspaper article as well as the fact that he met my grandmother at Ryan’s Creek Baptist Church after an all-night hunt with Rev. Charlie Johnson, the Ryan’s Creek preacher. He and my grandmother are laid to rest at the Ryan’s Creek cemetery, across the road from the church where they met.

Leonard and Eula married and had three children; they farmed in Cullman County and eventually moved to Birmingham in the ‘40s for Granddad to take a factory job until he retired in 1968. They maintained land in Cullman County and frequently went up for weekends during retirement. Granddaddy would go out into the woods and wander on those trips; he never tired of nature.

At first glance, it doesn’t seem that I have a lot in common with my Grandfather Harbison. But I love to take walks in the woods.

I inherited his love for plants and my house is filled with houseplants now that will be moved to the yard as soon as the weather gets reliably warm. In fact, I still use some of his containers for my plants.

I inherited his affection for “volunteers,” those plants that just pop up in the pots or in the yard. This has been an extraordinarily mild winter and I already have volunteers all over the yard. I don’t like to weed them out; they chose to grow there so I choose to let them. I’ll make the final decision in the spring when I see what my volunteers plan to do.

And I inherited his wanderlust, although I’m afraid my travels cannot compete with the style and romance of Granddaddy Harbison’s.

Note: The photograph is of my Grandfather Harbison (C), my brother (R), and me (L), taken at his and Grandmother’s Central Park home in 1988.

The Legacy of Mose T

dscn0706 Moses Tolliver (c. 1920-2006), more popularly known as Mose T, is one of the best-known of Alabama’s many self-taught artists. During the years that I lived in Montgomery, I would often see the artist sitting on the front porch of his house on Sayre Street when I would go to Martha’s Place, a soul food place a few doors down from Mose.

I heard that visitors often went by the house and invited themselves in to Mose’s place to check out the art and occasionally buy pieces. Each time I saw him sitting on the porch I considered going up to chat but it seemed rude to just drop by without asking or an invitation.

Moses Tolliver started painting in the 1960s. Most sources say he started painting after a work-related injury left him crippled and unable to continue his job in a furniture shipping warehouse. Mose T always said that he painted prior to the accident but that the accident left him more time to devote to his painting. Either way, a colleague at the furniture company, who painted as a hobby, suggested that Tolliver take painting lessons. Tolliver rejected the lessons and continued to develop his own style in his pictures. He often said that he wasn’t interested in “art,” just in making “pictures.”

The first pictures Mose T made and sold featured a red cardinal as the subject. Throughout his life he painted many subjects including birds, snakes, fantastical animals, buses, watermelons and other fruit, erotic pictures of women straddling bicycles and tricycles and assorted objects, self-portraits and portraits of historic persons, and a world of imaginative, colorful paintings on an assortment of topics. His self-portraits feature him standing on crutches and he sometimes mixed his own hair in with the paint. dscn0705

The paintings are brightly and boldly colored; house paint on plywood seems to be his preferred medium but he also painted on random objects including tree stumps, Masonite, cardboard, table tops, and jigsaw puzzles.

I became aware of Mose T when I first started seeing museum shows featuring artists, usually self-taught, who operate outside the mainstream art establishment. It was around that time when one of the Birmingham-based department stores (either Parisian or Pizitz) promoted a line of tee-shirts carrying images of Mose T’s distinctive watermelon paintings.

Collecting original Mose T paintings is challenging. As the demand for his work increased he began to let some of his children do the paintings and he’d sign them if he approved of them. He had thirteen children and it is known that his daughter, Annie, and two of his sons, Jimmy and Charles, created works that Mose T signed and sold. dscn0702

Eventually Annie Tolliver began to sign her works as “Annie T” and developed her own distinct style and Jimmy and Charles began to produce their own work. I received a gift some years ago of a watermelon in the Tolliver style that was signed “Mose T Jr.” I was confused about the painting’s origins so when I purchased an “Annie T” watermelon from Annie Tolliver herself I mentioned that I had a watermelon signed “Mose T. Jr” and wondered who painted it. “That’s my brother,” she replied tersely and returned to another customer. I still don’t know which brother signed the painting but I assume it’s either Jimmy or Charles. dscn0694

Even though watermelons are Tolliver’s most iconic image, my attention was drawn to another subject to which he frequently returned: buses. The bus as subject matter for a Montgomery-based artist is evocative of the 1955 Montgomery Bus Boycott which is such a seminal part of Civil Rights-era lore. I once read Mose T quoted as saying he preferred to paint empty buses but that people seemed to like them with people in them so that’s why he added people.

While I lived in Montgomery, I began to search out an empty Mose T bus for purchase. I did find one that I liked at a dealer but the price was prohibitive at the time and by the time I returned the painting had been sold.

Later, at another dealer, I spotted a bus with passengers with a price I could consider. It’s a green bus held up by four big black tires with muddy green swirls for hubs. A driver carries three passengers. All four have their legs dangling down and their arms sticking out. One can’t help but think of Mose T’s bird paintings with the four men’s arms resembling bird legs and their mouths that recall bird beaks. Each sports a broad-brimmed hat. I thought about it for a couple of days and went back to the dealer and owned it.

I had hoped to find an empty bus for the Tolliver collection but I really enjoy my frolicsome bus with its passenger load. I have no idea if Mose Tolliver painted it or just signed it but, either way, I love to look at it. And when you live with art, loving what you look at every day is the most important element, I think.

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Note: A great resource for learning about many of the self-taught Alabama artists is Kathy Kemp’s Revelations: Alabama’s Visionary Folk Artists (Crane Hill Publishers, 1994) with abundant photographs by Keith Boyer.

Christopher Fennell’s “Light Tree”

dscn0676-2 Sculptor Christopher Fennell’s sculpture “Light Tree” has made an appearance on the sidewalk in front of a downtown Huntsville development and, even though it isn’t lit up yet, it is already a lively and striking addition to the Huntsville townscape.

img_1199-2Outdoor installations made from recycled materials are Fennell’s specialty. When I became aware of the artist and his work, I began to run across his pieces as I travelled. “Rail Wave,” beside the river in Chattanooga, features railroad tracks across wooden ties that rise up into a cascading wave tunnel – one of Fennell’s recurring motifs. 

“Magic City,” Fennell’s temporary installation at an annual Birmingham art fair, featured boards covered with imaginative self-portraits made by Birmingham school-age artists. Fennell shaped the boards into a massive wooden flame that the viewer could walk inside, around, and through.

Browsing through Fennell’s website (www.cfennell.org), one sees recycled wood, boats, windshields, rods, baseball bats, ladders, garden tools, car parts, etc. transformed into installations – both permanent and temporary – and located throughout the country. The beautiful sculptures are often rooted in the shapes of nature and often tempered with a charming whimsy. Fire, water, wind, fish, and fowl are among frequent natural motifs. Also recurring are industrial relics redefined; one of my favorite Fennell incarnations is an old school bus transformed into a bus stop in Athens, Georgia.   

I met Chris Fennell and began to grasp the method behind his art when I tagged along with Scott Smith – another artist who makes frequent use of cast-off and recycled objects – and Chris to scope out a barn near Tullahoma, Tennessee. The barn was on a family farm that spanned generations and its razing was imminent.

Scott was contacted about the possible availability of tin and wood from the structure and contacted Chris to plan a trip. Chris and Scott examined and photographed the barn. Chris later went back and spent a couple of weeks taking the barn down and used the wood for future projects.

After earning degrees in mechanical engineering and sculpture at South Florida, Christopher Fennell got his M.F.A. in sculpture from Georgia. He uses his engineering background to assemble complex sculptures, often from hundreds of assorted pieces meticulously melded together for an effect that seems airy and effortless. Fennell is now based in Birmingham.

The new Huntsville sculpture is something of a departure from the typical Fennell piece. It is composed of sleek slate grey tree-like structures with “branches” topped by sixty lamps of different shapes. The graceful structures bend together forming a passage through the “Light Tree.” As one enters the downtown on Jefferson Street, the sculpture appears as a beacon to the area, even on a bright sunny day before its lights are shining.

My favorite view of “Light Tree” is in my rearview mirror as I drive past it. After passing the vibrant energy of the soaring sculpture, it becomes a calm and tranquil afterimage for the traveler moving on down the road.

“Light Tree” currently stands in the middle of a streetscape construction zone so it is hard to get up close right now. It will be lit nightly when the street project is done. I find myself taking detours through town on the way home these days just to check on the progress and anticipate the time when it will shine brightly and complete. dscn0670-2

Another Roadside Attraction: The Corn Palace

dscn0653  When I was growing up, we didn’t often travel too far from home. There were picnics and day trips but most excursions were of short distance and duration. I mostly grew up in Birmingham but when Dad’s work began to transfer us fairly regularly we moved around a lot; most of the moves were fairly close to home: Jackson, Nashville, Tuscaloosa.

The lengthier vacations were usually to Panama City, Florida, on the Gulf. My Journey grandparents had a fishing cottage on the Black Warrior River in Walker County, not far from Birmingham, and my Harbison grandparents had a weekend place on their farm land in Cullman County near Smith Lake, about an hour away. There were occasional trips to New Orleans, Atlanta. Montgomery, and we often went on overnight business trips with Dad to nearby towns. The bulk of the travel was within a 350-mile radius of wherever we lived at the time.

I wasn’t widely-travelled, but I had limitless wanderlust. In that heyday of magazines, my family’s magazine rack was always full. I was a voracious reader from an early age and I would read anything in the house from cover to cover whether it matched my interests or not. My Granddaddy Harbison raised hunting hounds and subscribed to The Hunter’s Horn, a magazine about hunting and hounds; I avidly read that also, even though I had no interest in hunting and my only hound was a pet beagle named Spotty with an ear-splitting bark back when I was in elementary school.

Any book was fair game. I was lucky enough to have parents who encouraged and never censored my reading and I attribute much of the success of my education to my reading habits. I would walk in a room and instantly sit with my face buried in a book. My teenage nephew now does much the same with his electronic gadgets and I’m hoping that is enhancing his knowledge the way printed matter enhanced mine.

In every magazine I read, I was particularly attentive to the travel ads. If there was a coupon to order a travel guide I would carefully clip it and send it to the address that was advertised.

So, even though I wasn’t widely-travelled in my actual life, I would sit for hours and ponder travel guides that took up a full drawer in my bedroom dresser. Through those printed guides I travelled the length and breadth of the country and the world. On my first trip to New York City, friends tried to surprise me by pointing out landmarks and asking if I knew what that building was, what that church or museum was, what park I was entering. I always knew the answer from reading books and magazines and watching movies. It all felt familiar even if I was seeing it live in person for the very first time.

In one 1960s South Dakota travel guide my youthful imagination was captured by an image of something called the “Corn Palace” in Mitchell, South Dakota (www.cornpalace.com). It was a multi-use municipal auditorium such as most communities built in the early twentieth century. What set it apart was its Moorish-style adornment with onion domes and minarets. Most exciting of all was that the Corn Palace sprang from a turn of the century movement of building “crop palaces” throughout the Great Plains. Mitchell’s iteration of this trend was entirely covered with corn murals.

I vowed then and there that if I ever found myself in South Dakota I would have to make a pilgrimage to Mitchell’s Oz-like Corn Palace.

Over time I grew out of my childhood travel guide obsession and eventually cleared my drawers of the books and brochures. Fast forward to 1989 and I am hired by Omaha’s Nebraska Theatre Caravan to stage manage their east coast tour of A Christmas Carol. Even though it was billed as an East Coast tour, our show had to get from Omaha to the East and tour dates were scheduled along the way in South Dakota, Iowa, Illinois, and Ohio. Looking over the itinerary in a phone conversation with one of the Playhouse staff, I was told we would play Mitchell, South Dakota.

I stopped her immediately. “Are we by any chance playing the Corn Palace in Mitchell?” She said we were – did I know the Corn Palace? I told her that indeed I did and that I had planned to visit it for years. She was amused that someone in Alabama had a mission to visit the Corn Palace.

Mitchell was one of our first stops on the tour and we drove there from a gig in tiny Sioux Center, Iowa. We arrived on Mitchell’s main street just at sunrise on a bitterly cold November Sunday morning. I was driving and most of the technical crew in the van was sleeping. I caught a glimpse of sunlight glinting off an onion dome a couple of blocks away and knew that my childhood goal had been reached. I shouted “There it is!” and woke several crew members who did not share my enthusiasm and were annoyed that their sleep was interrupted.

We were early for our load-in and had time to go grab breakfast. But first, one of our tour crew took pictures of me standing in front of the Palace. I know those photos are stored away somewhere but I haven’t been able to find them for years. All I can find are blurred photos of the Palace taken as we were leaving town that night and of a mural inside the auditorium. dscn0656

The Corn Palace continues to be a busy venue, I hear. Our show followed a Barbara Mandrell performance the night before. Mitchell is a small town but the great local crew was I.A.T.S.E. union members and I found out that many of the union guys were also local farmers, at least one of whom provided the corn for the murals. The Palace’s exterior murals have an annual theme which changes each year so the façade of the building takes on a whole new look from year to year.

The crows were having a field day on the façade of the Corn Palace. Our show was on Sunday afternoon and we didn’t spend the night in Mitchell so I spent as much of my break time as I could exploring the unique roadside attraction appeal of the facility and the town.

As we reboarded the crew van and set off for Des Moines, I vowed to return to Mitchell and the Corn Palace some day when I had more time to absorb the unique local vibe. I haven’t returned yet but when friends tell me they’re going anywhere near South Dakota I always implore them to take the detour into Mitchell and gawk at what bills itself as “The World’s Only Corn Palace.” I think their effort will be rewarded.

Legion Field

dscn0633 The massive steel girders and beams of Birmingham’s Legion Field have thrilled me since I was a kid growing up in the city.  “The Old Gray Lady” is 90-years-old and, even though her best days are likely behind her, she maintains a majesty and charm. Another proud old sports arena, Rickwood Field, sits a short drive from Legion Field and is the oldest remaining professional baseball field in the country. Rickwood opened in 1910 and the first Legion Field game was played in 1927.

When I was in college, the University of Alabama’s significant games and major rivalries were played at Legion Field. In those days, Denny Stadium on campus in Tuscaloosa was a perfect little 60,000 seat bowl and half of the home games were played there while the other half went up the highway to Birmingham. This is years before Bryant-Denny became the 101,000+ seat behemoth that it is today and before big-time college football had become so “corporate.” dscn0624

Coach Paul “Bear” Bryant was the coach then and, depending on which national polls you’re counting, my freshman year was the year of Alabama’s ninth national championship and Bryant’s fourth of six. The most enduring memory of my years attending Alabama games at Legion Field is the image of Bear Bryant, hat always in place (despite the legend, it wasn’t always a houndstooth hat), leaning casually against the goal post and watching the team warm-up. One time, when Alabama offered Bryant a significant boost in salary (which would be paltry by today’s standards), he commented that it would be unseemly for the football coach to make more than the college president. Times have changed.

In those pre-ESPN days of a finite number of television channels and networks, the weekly choice of televised college football games was limited and it was always a treat when Alabama football was nationally televised – usually on ABC and usually with the great sports broadcaster Keith Jackson calling the game (“Whoa, Nellie!” and “Hold the phone!” Jackson would say at particularly exciting moments).

In 1981 Bryant broke the record of the most wins by any college football coach up to that time. Keith Jackson was in the booth. The opponent was Auburn and the game was played in Legion Field. The final score was 28-17. At halftime, Bryant growled to interviewer Verne Lundquist that his players were acting “like they’re afraid they’ll hurt somebody’s feelings or something.”

During those years the upper deck was in place on the east side of the stadium and the capacity of the stadium was around 70,000 with more expansions to come. For many years the words “Football Capital of the South” were displayed inside Legion Field and for most of those years that was true. At its peak, Legion Field could hold over 83,000. When a structural review in 2004 determined that the upper deck was not up to code, the city removed the deck and the stadium now seats about 71,000.

With the increased capacity of Bryant-Denny in Tuscaloosa, the University of Alabama began to schedule more home games away from Legion Field. The annual “Iron Bowl” between Alabama and Auburn was always played at Legion Field from 1948 to 1988. Tickets were split evenly between the schools and they alternated the “home team” each year. After Auburn moved the game to Auburn in their “home team” years, Alabama would continue to play the game in Birmingham in their “home” years until the end of the century. The Birmingham location is the reason that the game is called the “Iron Bowl” in the first place. And the game is still and forever the “Iron Bowl’ even though it will probably never be played in Birmingham again.

The last time I lived in Birmingham, I could see Legion Field across town from my apartment on Red Mountain. When an Alabama game was televised I would host watch parties at my place; if the game was at Legion Field and something went wrong I was known to go out on the balcony and yell toward the stadium (a couple of times, maybe more …).

In the heyday of big stadium concerts, Legion Field hosted acts like the Rolling Stones, U2, and Pink Floyd. The last time I saw the Stones live was at Legion Field for the 1989 “Steel Wheels” tour. dscn0625

Among the monumental architecture at the entrance to Legion Field, which was named to honor the American Legion, are two reclining lions and, at the base of the two flag poles, American bald eagles. A later monument, centered between the flag poles, memorializes Bear Bryant. A quote from Reagan at the time of Bryant’s death is engraved beneath Bryant’s bust on one side and Bryant’s own words about what it takes to be a “winner” are on another.  On the façade of the stadium these days are the words “Built by Legends.” dscn0628

The Iron Bowl is gone but Legion Field still hosts annual games like the “Magic City Classic” between Alabama A&M and Alabama State. The Classic has been played in Birmingham for seventy years. The Birmingham Bowl is the latest and longest lasting in a series of post-season bowl games played in the stadium. The first two SEC championship games were at Legion Field. The stadium has been the site for high school football and major soccer events and was home to local football teams of the several short-lived efforts to challenge the NFL (WFL, USFL, XFL, etc.).

Legion Field will once again be the home field for the resuscitated University of Alabama at Birmingham Blazers football team in fall 2017. For those of us who remember the Old Gray Lady’s glory years, it’s somewhat sad to see the mostly empty stands for UAB games.

Legion Field was already in its fifth decade when the Houston Astrodome opened and was declared the “Eighth Wonder of the World” in 1965. These days, the Astrodome is virtually obsolete — empty and avoiding the wrecking ball – but Legion Field soldiers on.

Long may she live. Roll Tide. dscn0635

Walking in Your Own Landscape

img_1314  The end of a year is a time for reflection — not only on the year that’s passing but on the events of one’s life. It is a time also for looking ahead.

For years I would spend a part of the new year’s eve speculating about where I might be living when the next year rolled around. As a youth, my father’s job transferred the family frequently; as an adult, my work often required me to relocate. My speculations were rarely correct and I would often welcome the new year from a place I  never imagined I would be.

With time, the reflections become more textured and poignant and contemplative. One of my favorite quotes from the painter Willem De Kooning was this: “There is a time when you just take a walk and you walk in your own landscape.”

Poet May Sarton’s “New Year Resolve” captures a tone that I find fitting, reflective, and hopeful for the days to come.

New Year Resolve

by May Sarton

The time has come
To stop allowing the clutter
To clutter my mind
Like dirty snow,
Shove it off and find
Clear time, clear water.

Time for a change,
Let silence in like a cat
Who has sat at my door
Neither wild nor strange
Hoping for food from my store
And shivering on the mat.

Let silence in.
She will rarely speak or mew,
She will sleep on my bed
And all I have ever been
Either false or true
Will live again in my head.

For it is now or not
As old age silts the stream,
To shove away the clutter,
To untie every knot,
To take the time to dream,
To come back to still water.

“New Year Resolve” by May Sarton, from Collected Poems 1930-1993. © W.W. Norton & Co., 1993.

Have a hopeful and clutter-free 2017.