Made October 2014 by MADE Paper

A Free Independent Newspaper

Issue 18 OCTOBER 2014

News, Makers & Trends of the New South

MADEPAER.COM

MONTGOMERY

PUBLISHER MADE Paper

Issue 18 October 2014

EDITORS Brent Rosen, Anna Lowder, Caroline Nabors Rosen, Harvi Sahota CREATIVE DIRECTOR Harvi Sahota DESIGN Matter www.iheartmatter.com CONTRIBUTING WRITERS Brent Rosen, Caroline Nabors Rosen, Anna Lowder, Andrea Jean, Heather Steen, Tiffany Bell, Will Abner, Johnny Veres, Sam Wootten, Jennifer Kornegay, Melissa Tsai, Tom Jean, Edwin Marty, Evans Bailey, Tina Hofer Medico, Robert Wool, Elliot Knight, Mark Bowen, Christian Kerr, Rebecca Seung, David Mowery, Brian Carroll, Blake Rosen, Josh Carples, Katie Lindgren, Natilee McGruder, Caroline Taylor, Skye Borden, Katie Vega, Rachel Fisher, Amy Collins, Devin Yates

CONTRIBUTING PHOTOGRAPHERS Harvi Sahota, Grace Photography, Josh Moates, Jonathon Kohn, Ryan Muirhead, Luke Lindgren, Thomas Lucas DESIGN CONTRIBUTORS Jay Wilkins, Alex Lazzari, Rachel Odom AD SALES Devin Yates devin@madepaper.com

Made is a free, independent newspaper published monthly. ISSUE 18 OCTOBER 2014 DISCLAIMER: Made publishes news and commentary, critique and reporting, offering different views from our community. Our contributors offer a variety of views and perspectives on subjects covered in Made. These views and opinions do not necessarily reflect those of the publisher. Due to the nature of creative industries and the connections we foster with those around us, contributors may have some personal or professional connection with people, events, or organizations covered in the publication or website. All letters, messages, and emails sent to Made will be treated as intended for publication unless otherwise noted by the author. Letters and emails may be edited for space and content. Made celebrates the rich history of a free press and is proud to continue to strengthen this tradition.

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Column feature: COMMONPLACE Feature: WINTER PLACE food: oysters Style & TRAVEL FILM & Events DRINK: Pimm’s cocktail music: APHEX TWIN music: MSO

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MADE is a collective of citizens celebrating the local, the authentic, and the unique. We are creatives featuring other creatives and the engaging work being produced in our city. We call attention to all fields forging new pathways in expression and innovation. We are makers who love to eat, talk, collaborate, question, party, and laugh, and we want you to take part. Thanks for reading this and supporting the artists, craftsmen, creatives, and active citizens that make a city thrive.

The Secret to Success WORDS BRENT ROSEN

I’m doing some people watching at Pinewood Social Club in Nashville. It’s

in jeans, boat shoes, and University of Georgia polos, looking furtively for

in an old warehouse on the Cumberland River, and at 11:00 a.m. there are

either beer or that bachelorette party — hard to tell. Another couple

almost no open seats at any table, around the bar, or in the lounge

strolls toward the the bocce ball courts, drinks in plastic go-cups. It’s 11:38

furniture filling the restaurant’s nooks and crannies. They serve coffee,

and Virginia Tech and Georgia Tech have not yet made it through their

drinks, food, cocktails and wine all day long. The back half of the building

first quarter of play.

is a boutique bowling alley and outside, overlooking the river, are a pool and hot tub. I watch a bachelorette party walk by headed to the pool, a

Several hardcore bros arrive. Backwards hats, long shorts, aggressively

doofus in a cowboy hat screaming something about Clemson Football,

athletic footwear in a place where the only athletic activity takes place in

and a table of middle-aged people haggling over who gets the crispiest

rented shoes. There is backslapping, shots are ordered. It is not yet

pieces of bacon from their breakfast side order. Approximately 150 people

halftime in the early slate of college football games. I remember when I

are in here, diverse in age and race, all enjoying the same place, possibly

was 24, fuller of hair and stronger of liver, a time when shots at 12:07 p.m.

for the same reasons. And it’s making me contemplative.

meant “good times” rather than alcoholism. Two skinny girls wander by, their body art set to “marvelous.” My server and I make eye contact, a

What brought all of these people here? Love of food and drink plays some

subtle nod, another High Life.

role, but Nashville, from the West End around Vanderbilt to up-and-came East Nashville, boasts dozens of places with similar menus serving similar

Since 2000, Nashville has grown by 25%. That means one of every four

food. The space itself probably plays some role, all white walls, exposed

people in this bar did not exist 14 years ago. That’s a weird thing to think

light bulbs, velveteen furniture and exposed architectural elements, but

about. The guy in the gym shorts and loafers, the curly-headed lady who

CONTENTS © 2014 by Made Paper. Reproduction in whole or in part by any means, including electronic retrieval systems, without the publisher’s express written approval is prohibited. The publication is free, limit two per reader. Removal of more than two papers from any distribution point constitutes theft. Violators are subject to prosecution under city ordinances.

again, the warehouse style is hardly new. A crowd gathers near the door,

just caught me staring, the server in the spectator shoes with the

at least 20 people waiting to for seats, some in beards, some in hats,

on-brand teal-colored laces, the distinguished looking older gentleman in

some pretty women laughing at each other’s jokes.

the selvage shirt — one of them was drawn not only to this restaurant, but

MADE PAPER 505 Cloverdale Road, Unit 102 Montgomery, Alabama 36106 CALL 334.223.4862 EMAIL editor@madepaper.com

I think of True’s brunch. The bar full of service industry people ready to

realize it isn’t in the restaurant business, the bar business, or the

spend Saturday night’s money, a dining room where the church crowd

bowling business, but the fun business.

at some point to Nashville itself. Why? A second High Life arrives. The new La Jolla comes to mind. I like it much more than the old La Jolla. The menu feels more inspired, the use of the

Fun. That may seem like a simple answer, but it’s true. Pinewood Social

Big Green Egg more novel, the location less cavernous, more intimate. The

is fun. Nashville is fun. The new La Jolla is more fun than the old La Jolla.

service remains the same. When I go to the new La Jolla, it feels like a

Brunch at True is more fun than brunch anywhere else. People want to

different world from the old La Jolla. A world where people are laughing,

go places, to live places, that are fun. There is a lesson here for

talking loudly, ruddy from food and drink.

Montgomery: if you want to attract people to your business, people to your city — make it fun. Sit at Pinewood Social long enough and you

COVER PHOTO: Berney Imes

drinks iced tea at tables next to young professionals grinding through mimosas in yesterday’s blue jeans, where the ratio of black to white feels

Some movement. The entire shared-workspace table at the front of

representative rather than oblivious. People actually wait for tables on

Pinewood gets up to leave — a group of 20 disappears into the rest of

Sunday morning, filling the small lobby, overflowing the bar.

their day. A party of four, three parties of two and and a single guy on a date with his laptop replace the former crowd. The table introduces

Two older couples wander by, one of the gentlemen brandishing an

itself to the rest of the table, and business as usual resumes at

impeccable Rollie Fingers mustache. A few paces behind are three dudes

Pinewood Social.

OCTOBER 2014 • MADEPAPER.COM

Riverside Lounge Birney imes

William Christenberry William Eggleston William Greiner Birney Imes Commonplace brings together the work of four Southern photographers who represent a major turning point in contemporary photography – the use of color. William Christenberry, William Eggleston, William Greiner and Birney Imes each photograph common images, or their own surroundings. However, the images conquer the limitations of their subject and speak to a narrative of mystery, and a new sensuality through color. The photographs hold a tension of a disconcerting life of their own that may point to the verge of disaster, or perhaps a tremendous feat or glory. After becoming immediate friends in Memphis, Tennessee, in 1962, William Eggleston came across William Christenberry’s reference photographs taken with his Kodak Brownie camera. Eggleston was at the time shooting in black and white, but by the mid 1960’s had taken to color photography “snapshots.” The inherent imperfections and notions of chance came as an intoxicating change to the rigid and composed photographs of the reigning art photography of the time. Color pouring across his subjects grants a sympathy that stages a narrative – most notably

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the landscape of the American Dream. Eggleston became a noted pioneer of color photography as an art form, confirmed by his 1976 exhibition at the Museum of Modern Art, New York. Both artists are celebrated as grandfathers of color photography. Eggleston and Christenberry became major influences on a younger generation of photographers. A turning point for then college student William Greiner was an introduction to Eggleston on a spring break trip to Memphis. Greiner’s photographs included in Commonplace serve as a view of pre-Katrina New Orleans. Regarding this series, Fallen Paradise, Greiner states “The photographs comprising this series were made in or around New Orleans, between 1995 and 2005. The patina which veiled New Orleans prior to Hurricane Katrina, but lifted by this event, revealed a paradise which had already fallen. These photographs are a testament to that notion.” Speaking in a visual language consistent with Christenberry, Eggleston and Greiner, Birney Imes works

are the result of nearly twenty years of exploration of his native Mississippi, photographing people and places that otherwise exist only in Southern memory. The works included in Commonplace are part of his Juke Joint series – photographs that capture the nearly forgotten (and disappearing) juke joints of the Mississippi Delta. In these ordinary scenes, Imes’ images are rich with vibrancy and culture, yet simultaneously surreptitious and often strange. Featuring these renowned photographers and their important work, Commonplace is a landmark collection of American cultural and artistic significance. The fact that this work is brought together and unveiled in Montgomery, Alabama makes it all the more uniques.

Commonplace opens October 8 and runs through October 31, 2014 at Triumph & Disaster Gallery. For information, visit www.triumphdisastergallery.com or the gallery located at 505 Cloverdale Road, Unit 102 at The A&P in Old Cloverdale.

Tenant House, Near Havana, Alabama, 1961 C-Print 8x10”

Horses and Black Building, Newbern Alabama, 1978/1981 Dye Transfer 20x24”

Born in Tuscaloosa, Alabama, 1936, the life and career of William Christenberry traces not only the development of an influential artist but also a period of historical change and evolution. Raised in a strong Southern family with value placed on religion and work ethic, the Christenberrys struggled for a middle-class life. A young William grew up in Tuscaloosa, close to the campus of the University of Alabama - where he often watched the football team practice in the fields near his home. Summers were spent in Hale County, where his grandparents lived (the Christenberry side near Stewart, and his maternal side, the Smiths, near Akron). 1954 marked a year of change in the South, with Brown vs. Board of Education integrating the schools and Martin Luther King Jr. taking his post at Dexter Avenue Baptist Church in Montgomery. On a national scale, plans for a new interstate system were unveiled. Urban sprawl followed with more powerful cars produced, affordable homes, and the rise of a suburban and shopping center culture. City centers and downtowns declined as populations spread into developing rural areas. In this same year, William Christenberry began his undergraduate studies in Studio Art at the University of Alabama. The early 1950s were marked by the Abstract Expressionist movement - a voice rampant in New York, and strong enough to reach throughout the nation. Artists such as Jackson Pollock, Willem de Kooning, Robert Motherwell and Mark Rothko dominated – yet younger artists such as Robert Rauschenberg, Jasper Johns, Claes Oldenberg and Cy Twombly were on the rise. Theories and practices of these artists were taught at the university level – giving students exposure to cutting edge theories and concepts. Christenberry was no exception, in 1955 beginning a practice of abstract painting. Pop Art would soon follow – a movement that embraced the signage and commercial elements in

Christenberry’s later photographs. By 1958 the country was becoming prosperous: Explorer 1 launched the year before kicking off the Space Race, and television and evening news became part of family life. Christenberry began his graduate studies at the University of Alabama, and one teacher, Mel Price, a transplant from New York, became a strong influence. Price recommended Christenberry read James Agee and Walker Evans’ Let Us Now Praise Famous Men – a book that grew out of a 1936 assignment for Fortune magazine to capture the desolate state of sharecroppers and their families in the rural deep South. The book, originally published in 1941, would forever change Christenberry’s view on his native state - one passage in particular by Agee summarizes the essence of Christenberry’s work from this point forward: “If I could do it, I’d do no writing at all here. It would be photographs; the rest would be fragments of cloth, bits of cotton, lumps of earth, records of speech, pieces of wood and iron, phials of odors, plates of food and excrement… A piece of the body torn out by the roots might be more to the point.” In the same year Price introduced Christenberry to the artist Marcel Duchamp – whose practice of appropriation of the readymade is arguably the most influential development on artistic process. Also in this year, William turned to his childhood gift of a Kodak Brownie camera to capture the light and color of the Alabama he now saw as subject matter worthy of national attention (images he would appropriate as his artworks). In 1961 William Christenberry moved to New York City for one year. Working multiple jobs to make ends meet, he faced a dry-spell in which he made no artwork. However, this period marked one of

development as he became a student of the New York art world - frequenting museums and galleries (as well as West Village jazz clubs). He developed a friendship with Walker Evans, then the senior editor at Fortune, who told Christenberry on their first meeting “Young man, if you ever have any desire to do anything with this material that you possess in your head, I would hope that you would consult with me first.” The two remained close friends until Evans’ death in 1975. Christenberry moved to Memphis in 1962 for a position as a professor at Memphis State University. In Memphis he met William Eggleston – another Southern photographer marked by a discovery of Walker Evans’ work (Eggleston also was known to carry a copy of Cartier-Bresson’s The Decisive Moment). The two were instant friends and remained influential to each other throughout their careers. Eggleston’s 1976 solo exhibition at the Museum of Modern Art, New York, confirmed color “snapshot-like” photography as a respected art form. In 1968 Christenberry moved to Washington, DC with his wife, and they would soon after have children. By the time of his move, he had developed a clear vision of his subject matter and strong understanding of its history. William Christenberry is the recipient of numerous awards including the Lyndhurst Foundation Prize (1982); a Guggenheim Fellowship (1984); the Alabama Prize (1989) and an honorary Doctor of Humane Letters from the University of Alabama, Tuscaloosa (1998). He is included in collections including the Museum of Modern Art, New York; the National Museum of American Art, Washington, D.C.; the Philadelphia Museum of Art; the San Francisco Museum of Modern Art; the Whitney Museum of American Art; and the Baltimore Museum of Art.

OCTOBER 2014 • MADEPAPER.COM

2 Sports Palace Metairie 2005

When did you begin taking photographs, and what inspired you? At the age of twelve, I bought my first camera by mail order. It was a cheap 35mm model with no light meter. I would spend hours in front of my house photographing automobiles as they passed. The process was an experiment in exposing film in different ways and achieving different results. This experience hooked me on the magic of the medium. I decided to attend college, this was 1979, so I went to a small liberal arts college north of Boston. While there, I befriended two kids from Memphis, TN. One of these kids one day shows up in my dorm room with a copy of William Eggleston’s Guide book. It turns out her dad was one of Bill’s benefactors, helping to fund his career. I looked at this book and although I could not completely grasp its complexity or originality, I realized photography had the potential to be very personal and it did not have to function as journalism or “news”. On Spring break, we traveled to Memphis and I had a chance to spend time with Eggleston. This encounter was like a fork in the road and I pretty much abandoned photography as journalism. I know this is a long answer but it’s my answer! Photography for me now is an obsession, it is how I look at and react to the world. Do you have a favorite camera? No but I have mostly shot medium format film for big projects and 35mm for travel and small projects. You have shown alongside the other artists in Commonplace – what are a few of these exhibitions? The Morris Museum of Art held the exhibition ‘Local Color: Photography in the South’, between December 2011 and January 2012, which included work by Birney Imes, William Eggleston, William Christenberry and myself (and Dave Anderson). I also participated in the group exhibition, ‘Economy of Scale’, along side Christenberry at Hemphill 06

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Fine Arts in Washington, D.C., in 2009. William Eggleston and the Color Tradition, an exhibition exploring the art of American color photography over the last 30 years, was on view at the J. Paul Getty Museum in 1999/2000 included my work as well. What’s next? I am painting and collaging mostly now, appropriating road maps , painting over them. It is a completely new and different way of working and seeing, a more additive rather than subtractive process. I have been visiting a few outdoor sculpture gardens, The New Orleans Museum of Art has a nice one, as does The Nasher in Dallas. I see all kinds of sculptural looking things and objects In these places, but are not in fact sculpture. I am starting to photograph these objects in a way in which they could be interpreted as sculpture. I call it, “The Sculpture in My Garden”. I am questioning the notion of what is art? What has an esthetic beauty and what might be appropriate in a way which reveals hidden meaning or beauty. Rubber Co. New Orleans

William Greiner will attend the Opening Night Reception of Commonplace on Wednesday October 8th.

PAINTINGS & PHOTOGRAPHY DAVID BRALY

Oh, she’s got a story to tell. She’s aged but has seen such youth, she’s severe but gentile, and she is oh so hauntingly gorgeous. Meet Winter Place, an antique house with two distinct personalities. Imagine a journey from The Great Gatsby to Grey Gardens. In the beginning, Winter Place was imagined by Colonel Joseph Samuel Prince Winter and his wife Mary Elizabeth Gindrat with the help of Philadelphia architect Samuel Sloan. At one time Winter Place housed Mr. and Mrs. Winter, their three children and all eleven grandchildren. The construction of the Winter Place residence on Goldthwaite Street began in 1858 but stalled due to the Civil War while parts of the Winter family relocated to Wales. Once the war was over construction was completed around 1871. The main residence is comprised of two structures connected by an above ground passageway; the south house designed in a more ornate Second Empire style, while the north house is Italianate. The north house appears to be two stories tall, but upon further inspection clearly contains a basement. This basement is not the typical Southern basement, but rather an English basement. The perimeter of it has been dug out to resemble a moat, albeit an empty moat, to allow ample light into the bottom floor. Winter Place’s north house was renovated into apartments in the mid-twentieth century. She held up-and-coming residents who would later become well known architects, attorneys, and revolutionaries. Winter Place remembers watching two bikini-clad German girls play badminton in the lawn while an Alabama Governor admired one so much that he later married her. A French teacher was giving lessons to F. Scott Fitzgerald in an upstairs room, and it is rumored that one day while descending the stairs he met his love, Zelda Sayre.

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Winter Place was witness to such historical events as the Voting Rights March in 1965 when the Alabama National Guard stood on one side of the crowd and the Ku Klux Klan on the opposite while a bullet whizzed by her. She saw one of the first Montgomery AIDS Outreach meetings and listened in on ideas about starting Montgomery’s first independent movie theatre, now known as The Capri Theatre in Old Cloverdale. She grimaced as Interstates 85 and 65 were installed, wisely knowledgable that this would be the end to her glory days. However, Winter Place was determined as she began aging gracefully, like a legendary, forgotten, and unloved denizen of Montgomery. The gatherings she held were the events of the year for that confident and lofty Montgomery crowd. A dear friend of a former inhabitant noted, “They were all Halloween parties in a way.” Indeed, the Halloween parties were especially notorious, with the eery coffin in the English basement which purportedly cradled a skeleton from the Civil War. Winter Place became somewhat of a haunted legend when stories repeated of three children haunting inhabitants with sounds of their tiny footsteps and raucous laughter. Those stories told by the DJs of Montgomery’s AfricanAmerican owned radio station, WPAX, dared the listeners to stay the night in the gloriously creepy Winter Place herself. The winners were awarded with some money, but certainly won many stories yet to be told. We’ve only just scratched the surface of the mountain of history in one of Montgomery’s greatest, yet most under appreciated, historical treasures. Winter Place is wearing her Halloween mask right now, waiting to be dusted off and prettied up. A special thank you to editor-in-chief of New South Books, Randall Williams; author of A Sense of Place, Jeffery C. Benton; artist and teacher David Braly, and co-founder of Haunted Montgomery Tours, Jeremy R. Cromblin.

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WORDS CHANDLER SIMS HINES

Although it’s still hot outside, the fashion gods are telling us to get ready for Fall and all the trends that come with a new season. Some are easy transitions, some will take you back a couple of decades, and others have me looking forward to much cooler days ahead. Several of these trends have been around and you most likely have some pieces in your wardrobe already. If not, my best advice for stepping outside of your comfort zone and trying something new is starting small. For example, leopard is here to stay for another season or two. While most fashionistas are wearing head to toe spots, you can start with a simple silk blouse that will take you into next summer. Layer this under chunky sweaters and coats this winter, and save it to pair with shorts when spring rolls around. Another craze I love is fringe. On just about anything! From jackets to booties and even key chains, fringe is right on trend. If you’re like me, you’ve probably been holding onto that fun, fringe covered shirt or dress for a couple of seasons, but needed a reason besides a flapper

party to wear it. Now is the time to break it out. For me, this includes tassels, and we’ve all seen those on just about every accessory. Keep ‘em coming! Now, this next trend might be a little frowned upon, seeing as we are in the heart of the South. Well, forget the rules and wear what makes you feel fresh and pretty! This includes wearing all white after Labor Day…. pause for old ladies gasping. I love this combination because it allows me to wear my favorite white jeans with my new gray booties that are also popular for Fall. Booties are so fun because they go with everything from jeans to shorts and dresses and let you to show some leg when you’re feeling frisky. Last but definitely not least is one of my faves. Hats! Not only are hats bigger than ever (literally, the size of the brims are growing) but they are a great staple all year. Because we are women, we can get away with wearing these coveted accessories indoors, allowing us to not only make a fashion statement, but cover up a bad hair day! ‘Nuff said. Follow Chandler on her blog www.cchines.com

WORDS & PHOTOS JENNIFER KORNEGAY

It’s amazing what Mother Nature can do. Her scenic mountain splendor can almost instantly elevate even the deepest “down-in-the-dumps” mood. And while it’s still 90 degrees in shade down here, in Alabama’s Appalachian foothills, the breezes blow cooler, time slows down and the sweeping views will steal your breath. The Lookout Mountain ridge stretches across the northeast corner of the state, continuing east into Georgia and north into Tennessee. Start your journey at the Little River Canyon Center in Fort Payne to learn a little about the area’s natural heritage before checking out the wonders of Little River Canyon National Preserve. The Little River is the centerpiece of the 14,000-acre protected site. Unique as one of the longest rivers in the country to flow atop a mountain (Lookout Mountain), its flow slowly cut through sandstone to create the 700-foot-deep Little River Canyon (one of the deepest this side of the Rocky Mountains) and pours itself over a craggy ledge to form the foamy torrent of Little River Falls. Get a good look at the canyon with a drive along Highway 176, also known as Canyon Ridge Drive, and stop for photo opps at the many well-marked overlooks. Another waterfall visible on this drive is Grace High Falls, but it’s a little fickle, only appearing when there’s been enough rain. Farther into the Preserve,

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the Canyon Mouth area has picnic tables and access to trails that weave through the lower canyon’s boulders and bubbling creeks. Or, if you want to do more than gawk at the gorge, contact the guys at True Adventure Sports. Expert guides will take you rappelling down the canyon’s cliffs, canoeing or kayaking on the river or into the some of the many caves tunneling into the ancient rock. Next, head over to Mentone for a visit to DeSoto State Park and the 104-foot DeSoto Falls. The wide, rushing Upper Falls gives way to the main falls, a glittering cascade plunging into a blue-green pool below. Both are easily visible from an observation point just a brief walk from the parking area. Continue into the Park to find 13 miles of hiking and biking trails leading to a few more small waterfalls as well as cabins and primitive camping sites. Try traversing the somewhat strenuous Little River Canyon Trail, which leads down to the bottom of the waterfall for a different perspective. After that, just hop in your car and drive. Roll down the windows; flip your GPS off. Turn down that unmarked road. Stop at that ramshackle stand. Who knows what hidden gems you might find? And if nothing else, you’ll uncover the mind-cooling calm that comes from getting intentionally lost in the mountains’ magic.

Fuel up for or wind down from your exploration at Wildflower Cafe in Mentone. This little cabin in the woods serves a mix of basic comfort foods and gourmet creations, selections in both of these categories ranging from healthy options to hearty indulgences and all made using locally sourced, organic ingredients whenever possible, including fresh herbs from the garden right out front. Order the Tomato Pie, a flaky, buttery crust filled with the tart goodness of balsamic-marinated, perfectly ripe tomatoes smothered in a blend of salty cheeses.

FEATURE FILM

October 3 & 4 Common Threads: Alabama’s Quilting Traditions

Alabama Department of Archives and History

Friday, October 3 and Saturday, October 4, the Alabama Folklife Association will lead a series of programs and workshops dedicated to the study, appreciation and education of Alabama’s quilting traditions. For a full schedule, registration and information, visit alabamafolklife.org or call 205.956.9888.

October 9 Food Invasion

EAT South Farm at Hampstead 6 p.m. to 9 p.m.

PHOTOS AMBLIN ENTERTAINMENT, UNIVERSAL PICTURES

The 5th annual Farm-to-Fork Food Invasion is set for Thursday, October 9 at the EAT South Farm at Hampstead. This year’s celebrity invader is guest chef David Bancroft of Acre in Auburn. Limited tickets available. All proceeds benefit EAT South’s education programs. Visit foodinvasion.com for tickets and info.

WORDS EVANS BAILEY

E.T. the Extra-Terrestrial is a “good story, well told.” That simple goal of storytelling, attributed to Mark Twain and Robert McKee, is so hard to obtain in filmmaking. Today’s blockbusters err on the extremes—like a bad story, told AWESOME, BRO!! *Ahem* Transformers 1 through robot dinosaurs *Ahem*. Indies have a tendency to underwhelm on both fronts, a not so interesting story, told not so interestingly. In this simple paradigm, E.T. is baby-bear’s porridge—just right. E.T. starts slow. Outcast boy (Elliot) uses his massive supply of Reese’s Pieces to lure little outcast alien (E.T.). Elliot, his precocious sister (played by Drew Barrymore), and his skeptical older brother take the alien into their suburban home unbeknownst to their mom (dad’s in Mexico with his girlfriend). E.T. harnesses some pretty magical powers. In addition to being able to withstand drinking more than one Coors Light, he can also move objects with his mind, cure diseases, heal wounds, and learn rudimentary english in 48 hours. The two outcasts make a special connection. Eliot starts feeling what E.T. feels. E.T., seemingly feels what Elliot is feeling. E.T. wants to go home. E.T. finally fires off his homemade homing beacon after taking a memorable, moonlit bike ride through the forest. Then the assholes from the U.S. Government showup. The G-Men separate and quarantine Elliot and E.T. as their bond (and health) weakens. After a gut wrenching farewell, there’s a daring

escape! Elliot and the neighborhood boys are whisking E.T. back to the forest with the help of some killer BMX moves! E.T.’s alien friends come back in the nick of time. Finally, after an even more emotional farewell (“Ouch”), E.T. waddles his way back to outer space. E.T. was Stephen Speilberg’s followup to Raiders of the Lost Ark. It evidences a master ascending to the top of his craft. Notice how long there is from the opening credits until you hear a voice or see an adult face that isn’t Eliot’s mom. Think about the height of the camera in nearly every scene. Are you looking down on things like an adult? Or, are you looking up on things like a child/pug-faced alien? Listen to the amazing, Oscar-winning score from John Williams. Look at how the effects and puppetry that went into making E.T. give it so much more of a “real” feel than today’s “realistic” CGI-laden mega movies. This, ladies and gentlemen, is how it’s done. When I received this assignment, I was worried I couldn’t write 500 words on E.T. I really disliked the movie as child. It made me equally parts scared and mad, two feelings that are not young a boy’s favorites. I was prepared to come into to the review snarky, with a sarcastic take on how right my 7 year old self was (even though the movie was released in 1982, the year I was born, I don’t remember seeing it until much later). I realized my 7 year old self was a moron about 15 minutes into E.T. It conjures so much wonder and hope. It’s simple, and its innocent, and it feels pure. That’s something you don’t get too often. Do your 7 year old self a favor by seeing E.T. at the Capri Theatre on October 6 at 7:30 p.m.

October 10 Art in Concert

Montgomery Museum of Fine Arts

6 p.m. The Montgomery Museum of Fine Arts Junior Executive Board hosts its 3rd annual Art in Concert featuring the Pine Hill Haints and Owsley Brother. Tickets $10 until October 8. $15 at the gate. mmfa.org

October 16-18 26th Annual Holiday Market Crampton Bowl

The Junior League of Montgomery Holiday Market returns for four days of shopping, special events, live entertainment and merchants. Tickets and full schedule available at jlmontgomery.org.

October 18 Cycling For Sight

Tallapoosa Lakes Conference Center 8 a.m. Starts at Dozier Road, Montgomery. Team MMS invites you to ride Cycling For Sight, a 20 mile and 40 mile fun ride to benefit The Montgomery Lions Club charities. Montgomery Lions sight services include thousands of vision screening, eye examinations, glasses, medication, ophthalmic operations, and guide dogs. www.montgomerylionsclub.com www.teammms.com

October 23 Journey Proud Season Premiere Screening Alabama Department of Archives

6 p.m. Alabama Public Television will screen the new season premiere of its Journey Proud series in the Alabama Department of Archive’s Joseph M. Farley Audtiorium. archives.alabama.gov

October 25 Play Parade (an art show)

Tullibody Fine Arts Center, ASU

5 p.m. to 8 p.m. Art show featuring Winfred Hawkins, L.G. Waldo and Kellie Newsome. Reception October 25. Exhibit open October 14 through November 7. alasu.edu

October 30 - November 2 Alabama Dance Theatre Presents Dracula

Alabama Shakespeare Festival

Sink your teeth into this thrilling vampire drama, back by popular demand. Tickets on sale starting October 13. Visit asf.net or call 800.841.4273. alabamadancetheatre.com

OCTOBER 2014 • MADEPAPER.COM

I was riding front and center on the struggle bus the other day. It’s always tough to develop a plan of action from the slew of cures and remedies that could potentially provide relief from the gluttonous over consumption and antics of the night before. BC powder, Gatorade, greasy burgers, overly garnished and soupy Bloody Mary’s. Whatever. Only time is really going to help the Struggle, maybe some water too. But sometimes the real cure is going back to what got us in the beginning: a little hair of the dog. After surviving Sunday brunch, aiding others in their own form of the Struggle, I needed to go home and take care of myself. After a brief nap, and a little food chased by some Ibuprofen, I still wasn’t up to par. I grabbed a cold Coke out of the fridge, opened it up and drank right from the can. This is usually the ticket, but today it was lacking. Will Abner is the supreme bartender at SpringHouse on Lake Martin. You can catch up with him there, and even in Garden & Gun these days. But always at MADE Paper.

MADEPAPER.COM • OCTOBER 2014

I don’t know what mysterious thing came over me, but I went to my

meager liquor collection and reached for my dusty bottle of Pimm’s. I put it right into the can and gave it a swirl. It was damn good. Pimm’s is light as far as booze goes, but rich in flavor. Just enough “hair” to do the trick. That’s when I decided I wanted to spread the gospel of Pimm’s. Go grab a bottle and make a Pimm’s cup, make whatever you want, just get some and have some fun. It would be pretty funny to see what your local bartender says when you ask for a Pimm’s cup... but let’s change that and #PimmsCupParty!

RECIPE When I’m serious about a Pimm’s cocktail I’ll make this: 2oz Pimm’s 1oz of fresh sour mix 2oz Buffalo Rock ginger ale Combine over ice and garnish with whatever is fun in the produce section.

Nashville is a town of Now. If you’re over a certain age, or haven’t visited the World Wide Web in a bit, you may not know. Otherwise, I’m telling you something that’s obvious. What may not be so obvious is exactly what makes Nashville Now. Our esteemed MADE Columnist tells you this month about Pinewood Social. It is no doubt one of the finest establishments in Nashville today. Or anywhere in the US for that matter. But for all its delicious food and cocktails and coffee and young people, Pinewood Social is just doing the best job at what Nashville does best: being fun. It is a city of music, design, craftspeople, chefs and artists. That’s fun. That creates events and rituals. That makes neighborhoods and brings new ideas. Set against a backdrop of a financial institutions, state government, industry, tourism, and universities, it’s a city were everything feels possible. Nashville is the Atlanta of ten years ago, the next Austin, the Brooklyn of the South. That’s why its food festival, Music City Food & Wine, surpasses all others. Dropped in the center of downtown, it celebrates Southern food and drink with the third fist of music. And not just any music: founded by Caleb and Nathan Followill of Kings of Leon, the band curates the live music line up and plucks from their friends and Nashville headliners. Performances by Kings of Leon paired with the likes of Bobby Bear Jr. and Sr. bring a diversity of ages and techniques, that sings of the new Nashville spirit. And hanging out with Frank Stitt, Iron Chefs and food media from all over the country isn’t too bad either.

Here’s MADE Paper’s picks for the best at this year’s Music City Food & Wine.

Upstarts: The Ones To Watch

Martin’s BBQ - These guys set up a BBQ pit in the middle of a packed food festival, giving tastings of pulled pork, sausage, beef, ribs, chicken, branzino, and brisket all day. Think they were popular? martinsbbqjoint.com

Otaku South - This new spot at POP in East Nashville is a ramen shop serving the best Tantan Mazeman. The menu is simple and cheap but stars quality ingredients and technique. otakusouth.com

Yazoo Brewing Co. - Nashville’s favorite microbrewery serves good beer. All you need to know. yazoobrew.com

Alon Shaya - Amazing guy with a work ethic to match, Alon (head chef and partner at Domenica and Pizza Domenica in New Orleans) showed up nationally renowned chefs with his chilled, charred octopus. domenicarestaurant.com

Ashley Christensen - In an industry crowded by loud men, Ashley breaks the mould. 2014 James Beard Winner Best Chef: Southeast, she oversees eight operations including Poole’s Diner in Raleigh. ac-restaurants.com

Hattie B’s - Modern take on Nashville’s famous hot chicken. The weak order it “Southern” (no heat), the strong order it “Damn Hot” (firestarter). Gallon of tea or pitcher of beer required for success. hattieb.com

Frank Stitt - He plates a lovely trout salad, but his ping pong backhand is actually more impressive. This legend of Southern cooking parties like a genteel rock star (at least at Pinewood Social). highlandsbarandgrill.com

Nashville Flavor Tandy Wilson - City House head chef and owner, Tandy has the arguably the hottest restaurant in Nashville. Located in Germantown, it serves cured meats, pizza and simple food done right. cityhousenashville.com Olive & Sinclair - Chocolate. Add bourbon, salt, pepper, other things. Magic. Especially the chocolate truffle that explodes bourbon chocolate lava in your mouth. oliveandsinclair.com

Classics and Standouts

Kings of Leon & Harvest Night - King of Leon organized this year’s after party concert, held outdoors in the center of Nashville’s booming downtown. Nights like this make you happy to be in the South. kingsofleon.com The City of Nashville - Get here now. Something for everyone, and a damn nice place too.

OCTOBER 2014 • MADEPAPER.COM

With nineteen pen names in tow, the most famous being Aphex Twin, legendary British DJ and producer Richard David James has been releasing electronic music for decades, and is easily the most influential electronic artist, period. Any dolt with a Bop-It! has the ability to call themselves a Techno musician, but unless said dolt is familiar with the music of Aphex Twin, you can rest assured they’re just spinning their wheels.

IMAGE COURTESY WARP RECORDS words BRIAN CARROLL

A hard-working and prolific early adopter for countless now-standard mechanized styles and sounds, James has never been terribly shy about pointing out the similarities between himself and classical composers. To wit, half of Aphex Twin’s previous tentpole release - a double album called Drukqs – was just recordings of James timidly exploring ways to control a harpsichord-sounding prepared piano with a laptop. Serene, but not exactly Mozart, two of the resultant pieces paired nicely with Sofia Coppola’s film Marie Antoinette, but Drukqs - its companion disc a wall of Chopped-n’-Screwed drum attacks more befitting his skill set - was to be considered more dandy “flop” than “fop.” Fast forward thirteen years and all is forgotten. One day, a neon blimp bearing the Aphex Twin insignia appears over London. The same logo is discovered stenciled on the sidewalks of several of the world’s key music outlets, venue owners either shaking their fists in the air at that rascally AFX or deeply flattered, depending on their lucidity. Before long, a new album called Syro is announced on the seedy Deep Web. The official album art for Syro features a typed receipt tallying all the promotional costs and a list of gear used in the album’s creation. Transparency? Check. Hype? Double Check. Music? Check. Unlike a dark swath of James’s enormous catalog, Syro appears to be a friendly handshake offered without hidden daggers or devious grins. Featuring non sequitur vocal snippets from James, his wife, and young son, this family affair comes beamed to us from their home in rural Scotland, where James has been quietly preparing as many as six new releases of material over the past decade. The album’s name, a nonsense word provided by James’s aforementioned six-year-old boy budding Techno producer himself - sounds like “tyro,” but is even easier to say, making it simultaneously an apt title and Junior already out to be more gifted at naming things than George Lucas’ kids. An open invite to novices and curmudgeons alike, Syro acts an intro guide not only to

MADEPAPER.COM • OCTOBER 2014

the world of Aphex Twin, but to that of electronic music in general. Acid, Jungle, and Breakbeat - genres considered dead as a doornail only yesterday - have been dusted off and put on the hit parade again in a single, confident masterstroke. Though a charming and educational host, James’s personality remains as loud, animated, and colorful as a Kandinsky painting, so noobs be warned, his music can be quite dominant even when it’s at its sunniest. I could prattle on about the essential building blocks and alphabetical coloring books that make up its DNA, but as an album, Syro remains complex and unrelenting, having been built around a sputtering e-bass shot through countless signal chain processors. Its long, jittery jaunts, punctuated by the occasional modern effect and (softsynth or vocal) overdub, are both stifling and commercial - in such a way that makes you want to gasp for air and consume items at the same time. While listening, you feel like Kino at the outset of Steinbeck’s The Pearl, making long, strenuous dives in search of glimmering treasure. Wisened by age, and perhaps sweetened by fatherhood, Richard D. James has placed up a cordon so that the teeth of his machine can no longer damage innocent passers-by. That he would take the middle path as opposed to the devilish bombast of old is a constructive move, but it can feel at times like an attempt to reclaim the glory stolen by James’s many notable peers and followers, especially those who sit closest to him in the music tree. As such, it might not feel great to be Boards of Canada or Amon Tobin right now, because regardless of whether or not he has made his best album (as some have claimed), he has come very close to making theirs. In closing, Aphex Twin is such a beloved counter-culture figure that his return would merit a hooray even if Syro was composed entirely out of sampled goat bleats. Considering that it is instead a generous helping of personable, fluid, jazzy music, it can be highly recommended – even to the person who is generally repelled by modern art. Casual listeners may require a break while digesting the lengthy album, as Syro’s constant barrage of musical Seussisms tend to drown out all external speech and thought. It’s action music, the sound of verbs, so if you find yourself in the zone, doing something creative or set to a task, it’s a wonderful pick. To those of you who have never been into Electronic music before and wouldn’t know where to start, consider Syro your once-in-a-blue-moon opportunity to jump on board. Bop it!

SEPTEMBER 2014 • MADEPAPER.COM

JLM_HM14_MadePaperAd_Layout 1 8/25/14 2:04 PM Page 1

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SESSION #4 October 24 and 25 a Greensboro, Alabam SESSION #5 ber 1 October 31-Novem Selma, Alabama SESSION #6 15 November 14 and Auburn, Alabama

Words BRIAN CARROLL

This month, MADE highlights the upcoming season of the Montgomery Symphony Orchestra by interviewing its new Executive Director, Kim Wolfe. Mrs. Wolfe is an enthusiastic and popular Montgomery native with a colorful history as a player and singer in the local music scene.

Photos THE MONTGOMERY SYMPHONY ORCHESTRA MADE Paper: Kimberly Wolfe, how are you? KW: I’m great, I love MADE Paper so this is fun.

I typically crank up the 1812 Overture by Tchaikovsky (with cannons) when I am winning at Settlers of Catan.

MP: Could you tell our readers a little bit about your musical background? Is it true you are a multiinstrumentalist? KW: Yes. I started taking violin lessons when I was five through the Suzuki Method, which is training that focuses on strengthening the ear. At age nine, I was taking piano, and by age thirteen I was learning operatic arias and placing in local competitions. I attended Boston University’s Tanglewood Institute for vocal study in 2004 and spent some time in Nashville playing “fiddle.” Not many people know that I am a Jazz enthusiast and singer and play Jazz on the violin. While studying at Huntingdon, I played gigs at the Renaissance Hotel and The Olive Room to help with my college expenses. I had some really cool local musicians who acted as my mentors in Jazz, like Pedro Louis Mayor and Sam.

MP: Let’s say I was, for example, someone who plays a fine instrument, one that traditionally might belong in an orchestra. How would I go about potentially becoming a part of the MSO? KW: We typically audition traditional orchestra instrumentalists in August. If you played an instrument that does not “go” with the orchestra….it would probably be best to contact our office. We rarely need bagpipes or a banjo but it wouldn’t hurt to ask. We always love it when local musicians want to show support of the Symphony even if it means showing up and being enthusiastic about the music.

MP: I recently learned the MSO has a radio show. What sorts of things happen on this show? KW: During Carolyn Hutcheson’s “Community Focus” radio time block, [MSO Conductor] Maestro Hinds talks about a variety of musical subjects. Interviews include local musicians and MSO Fellows. If you tune in, you will definitely learn something new! The show is so much fun. MP: When and where can the public tune hear the MSO’s weekly radio show? KW: Thursdays at 12:20 pm, you can listen by tuning in to Troy Public Radio, 89.9, if you are in the Montgomery area. We also try to post shows on our Facebook page if you missed it. MP: Whenever I go out to see a symphony, I feel inappropriately dressed. What sort of attire should one wear to a symphony orchestra performance? KW: We have so many age groups that attend the Symphony and although many people enjoy dressing up for a night out, it’s not required. We often have students from colleges and grade schools that come and wear t-shirts and jeans. We want the community to feel like the orchestra is accessible. If that means they come in casual clothes, it’s fine with us! MP: Some of our readers are curious to know about what sort of classical music you like. Do you have any current favorite composers or compositions? KW: I just finished an interesting documentary on Philip Glass who I believe is a really compelling composer for our time. I love Yann Tierson’s work and most people recognize his music score from Amelie. I always enjoy Mozart and Chopin, Gershwin is fun. Classical music helps to create a moment and build drama, so I advise people to throw some on if they are playing a board game….it really heightens the experience immensely.

MP: The MSO, as I understand it, is able to host and feature star performers from faraway places, and does so currently. Could you tell us about the artists-inresidence? KW: We are so fortunate to have Delyana Lazarova and Genevieve Guimond as our active Fellows right now. These brilliant young ladies will offer six concerts through our Fellowship Series at the Wilson Auditorium in the Montgomery Museum of Fine Arts. These concerts allow audience members to have a more intimate musical experience and get to know the Fellows. We will also feature performers this year through our Symphony Concerts at the Davis Theatre and through the Vann Vocal Institute (VVI). The VVI performance this year will feature some world-renowned artists from the Chicago Lyric Opera and the Metropolitan Opera. It’s a free concert we’re offering on October 16th at 6:30 at Huntingdon College for all those interested. It’ll be epic! MP: I understand it is traditional to give soloists flowers after a performance. Does every soloist get flowers, male or female? What kind of flowers are appropriate? KW: [After a quick phone call to check] Typically, we give the females flowers and the types may vary. MP: The Davis Theatre is a beautiful venue. Could you tell us about where its located, and what parking is like there? KW: The Davis Theatre is such an amazing place. I don’t know if people really understand how many fantastic musicians have appeared on that stage. I view the Theatre as sacred territory since I experienced some of my very first concerts and plays there. As far as parking for a concert, it’s always good to show up ahead of time to get the right spot, but we have ample parking around Troy University’s campus. MP: If I wanted to go see a performance of the MSO, where can I check the schedule? KW: You can check out our schedule at montgomerysymphony.org or call our office for official concert dates.

MP: What number do I call to order tickets? Can I order tickets over the internet? KW: You would call 334-240-4004. We offer ticket prices online, but usually the public either calls our office ahead to order tickets or we give them out at the Davis Theatre box office. If you want reminders on when tickets are available and concert dates, we can add you to our mailing list any time. MP: And typically how much are tickets? Are we allowed to talk about that? KW: We offer individual tickets at the Davis Theatre ranging from $14.50 to $30.00 per concert. Tickets for students are $12.00. For the Fellowship Concerts at the Wilson Auditorium, you can purchase a ticket for $15.00, and students can come for free to those. MP: This performance you have coming up on October 13th, can you tell us about what makes it such a huge event for the MSO? KW: October 13th is our opening night, kicking off our official Season! It’ll be an awesome show featuring the amazing talents of both our Violin Fellow, Delyana Lazarova, and our new Cello Fellow, Genevieve Guimond, in her first performance. MP: There must certainly be an enormous amount of considerations at play when it comes to what musical works are selected. Could you tell us about how the selection process works? KW: It’s a choice typically made by Maestro Hinds but he also takes into consideration with great sensitivity the expectations of our audience, talents of our orchestra members and the musical contributions made by our talented Fellows. MP: Finally, do you ever get to jam with the orchestra? KW: I played in the Youth Orchestra and, at one time, with the Symphony. I certainly have tremendous respect for these musicians. As far as jamming goes, I’m sure as I gain further knowledge of the Symphony’s operations there will come a time to get back out there with voice or violin. For now, all I can say is stay tuned! MP: Kim, thank you for agreeing to this interview! KW: My pleasure.

The Montgomery Symphony Orchestra’s Upcoming Concerts: Monday, October 13th 7:30 P.M. at the Davis Theatre Thursday, October 16th 6:30 P.M. at Huntingdon College Celebrity Recital through the Vann Vocal Institute. Free event.

OCTOBER 2014 • MADEPAPER.COM

Russell Lands On Lake Martin is an idyllic place on the shores of Lake Martin, Alabama’s largest lake. With 44,000 acres of

the southeast. Russell Lands On Lake Martin lies at the heart of Lake Martin and includes 25,000 acres of pristine forests with

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Throughout our country’s history,

the town center has served as a community gathering spot – a common meeting ground to shop, to dine and if luck had it, to leave with a few friendships formed. Located in the heart of Russell Lands On Lake Martin, Russell Crossroads perfectly blends these storied traditions with today’s conveniences. For more information, call 256-215-7011 or visit RussellLandsOnLakeMartin.com