okra. Issue 14, 2021 Preview

T

SUMMER ISSUET

2021

the hidden south

Display until November 29, 2020

Storytellers

TAKE THE GOOD ROAD Searching for history hiding in plain sight in Richmond, VA

JONESBOROUGH, TN Storytellers converge on this small Southern town

ROBERT ST. JOHN Methodists and the art of cat flossing

SEAN OF THE SOUTH Turned tragedy into humor with his tales of the South

WA LT O N

A LEGACY O F LE I SU R E South Walton’s 26 miles of sugar-white sand beaches in Northwest Florida offer an all-natural escape, yet perfectly blend modern amenities, worldclass cuisine and small town charm into an unforge able experience.

The days move a bit slower here, and it’s this simplicity – a day spent creating memories at the beach – that draws generations of families back to South Walton.

ROOM TO GROW The preserved natural beauty and endless activities of our 16 beach neighborhoods create a community where imaginations truly run free. Find your perfect beach at VisitSouthWalton.com.

MIRAMAR BEACH • SEASCAPE • SANDESTIN • DUNE ALLEN • GULF PLACE • SANTA ROSA BEACH • BLUE MOUNTAIN BEACH GRAYTON BEACH • WATERCOLOR • SEASIDE • SEAGROVE • WATERSOUND • SEACREST • ALYS BEACH • ROSEMARY BEACH • INLET BEACH

42: TELL ME A STORY

National Storytelling Festival brings the world together in Jonesborough, TN

50: WE ALL END UP STORIES

Ekundayo Bendele celebrates the Black storytelling experience in Memphis, TN

STORIES 56: SEAN OF THE SOUTH

Sean Dietrich shares heartfelt, and often humorous, stories about life in our South

62: GOOD TIME

66: TAKING THE GOOD ROAD

Craig Martin and Earl Bridges travel south seeking what is hidden in plain sight

Photography courtesy Sean Dietrich

Grammy winning band Ranky Tanky draws on Gullah culture

CHAPTERS EDITORIAL

TO DINE SOUTHERN

PG 7: OUR CONTRIBUTORS

PG 26: AFTERNOON TEA

Celebrating the fine art of a relaxing tea with Ivory Road Cafe in Asheville, NC.

The people who make our stories come to life .

PG 8: EDITOR’S LETTER

PG 34: ON OUR PL ATE

Celebrating the storytellers that keep our Hidden South alive.

Celebrating the vegetables of summer with Chef Shaun Garcia from Soby’s New South Cuisine in Greenville, SC.

PG 30: ENTHUSIASTIC SOUTHERNER Robert St. John muses about life in the South and Methodist church dinners and the fine art of cat flossing.

PG 36: COOKING WITH

Cheerwine, the South’s unique cherry soft drink adds a twist to your recipes.

26

92

12 SOUTHERN COMFORTS

A ROAD LESS TRAVELED

PG 12: NOTHING COMMON

PG 92: WANDERING

PG 16: BY SOUTHERN HANDS

PG 98: WHERE WE WENT

A trio of friends celebrates the Elderberry with health and wellness...and family.

You’ll want these finds made by locals.

PG 20: PAGES

Photographers Susan Daley and Steve Gross go in search of Backroad Buildings.

PG 22: LISTEN UP

Shannon McNally gets into the outlaw spirit with Waylon Jennings tunes on her new album.

A relaxing time full of history, wildlife and adventure awaits on Daufuskie Island, SC

82 SOUTHERN SNAPSHOTS

Dean’s Cake House, Andalusia, AL

FRONT COVER

Photograph by Ilona Titova

PG 78: ALONG THE ROAD

Sunflowers are a season to mark time and hold special memories closer.

PG 82: L AY OF THE L AND

Our readers submit photos of their special Southern places and people

5

STAFF

Scott Speakes Publisher Genie Gaither Jones Editor-in-Chief Rebecca Cashwell Design Director Robert St. John J. M. McSpadden Liesel Schmidt Contributing Editors Richard L. Jones Copy Editor

Advertising Sales Specialists Brittany Sanders brmcdonald45@gmail.com Scott Speakes scott@okramagazine.com

CONNECT WITH US facebook.com/okramagazine @okramag contact@okramagazine.com

Published by Southbound Publishing, Inc.

okramagazine.com

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SUMMER 2021

CONTRIBUTORS

AMY CONRY DAVIS works as a travel writer, content creator, and photographer. She lives full-time in an Airstream and travels throughout the United States. When she’s not on the road she splits her time between Asheville, North Carolina and northern Mississippi. Her work can be seen at amyconrydavis.com

J. M. MCSPADDEN is a freelance writer and music enthusiast whose work has appeared online at theflamestillburns.com, and at mbird.com, a journal that examines faith in the real world. His love for roots music led to a gig at nodepression.com, where he reported on live music from The Birchmere, the famed music hall in Washington, DC. He is fascinated with the way words and music impact our lives and can be used as a vehicle for healing. Host of The Village Night Owl podcast, an interview show featuring musical artists. He lives in Virginia with his wife Suzanne where he is at work on his first novel.

DEBORAH BURST is a New Orleans native, author, and award winning writer/photographer with a portfolio of more than a thousand articles and photos including national covers. She has written five travel/ photo books featuring the South, its people, critters, landscapes, mystical legends and historic architecture. From hidden graveyards and sacred temples to the shrouded bayous and forests, Deb gives a voice to all the spirits. deborahburst.com

LIESEL SCHMIDT lives in Florida, and works as a freelance writer for local and regional magazines, web content writer, and book editor. Having harbored a passionate dread of writing assignments when she was in school, she never imagined making a living at putting words on paper, but life sometimes has a funny way of working out. Follow her on Twitter at @ laswrites or download her novels, Coming Home to You, The Secret of Us, and Life Without You @ amazon.com or Barnesandnoble.com

ROBERT ST. JOHN is a Mississippi native. He has spent almost four decades in the restaurant business as a restaurateur, chef, columnist, and author. For over 20 years he has written a weekly syndicated newspaper column. He is the author of eleven books. St. John is the creator, producer, and co-host of the Public Broadcasting series Palate to Palette with Robert St. John and Wyatt Waters which will soon film its fifth season. In 2009, St. John founded Extra Table, a statewide non-profit organization that ships healthy food to over 50 Mississippi soup kitchens and mission pantries every month. He and his wife Jill have two children. robertstjohn.com

MARIANNE LEEK is a retired high school educator who continues to teach part-time at Tri-County Community College. She lives with her husband in western North Carolina, where she spends much of her free time enjoying the outdoors. Her work can be found in The Bitter Southerner.

7

EDITOR’S LETTER

When we speak about the Hidden South, small towns and out of the

way places are the first things that come to mind.

Yet, there are stories that are hidden. How do we find them?

This issue is devoted to our storytellers, whether they are giving us their observations on everyday life in our small towns or sharing the hidden stories that we never knew about. These storytellers come in all types; from the humorous, to the historical, to the musicians and especially, the social commentaries. Each plays an important role in pulling back the layers to reveal the “hidden” South.

Storytellers describe the social and cultural activity of a place and its people by sharing those stories.

They might use theatrics or embellishments, but their stores are a way to provide entertainment, education, and cultural preservation.

In this issue, we’re visiting some of our favorite storytellers. We’re sharing stories by Sean Dietrich, better known as Sean of the South. Many of you are familiar with Sean through his daily blog, where his commentaries on life in the South make us laugh and

“SOUTHERNERS L OVE A GOOD TALE. THEY ARE BORN RECITERS, GREAT MEMORY RETAINERS, DIARY KEEPERS, LETTER EXCHANGERS...GREAT TALKERS.” Eudora Welty

cry, but always yearn for more. Visit small-town Jonesborough, TN, where the National Storytellers Festival takes place each year with some of the best storytellers around. The oral storytelling tradition is alive and well, on these stages. If you’re looking for a good time, it’s an event not to be missed. In Memphis, Ekundayo

Bandele is bringing the Black Cultural Experience to life on the stage at the Hattiloo Theatre where he helps the next generation find their voice and create their own stories. Grammy winning band, Ranky Tanky, found their unique voice through the music of the Gullah people. Their songs will make you feel the good times. In Richmond, VA, Craig Martin and Earl Bridges, of The Good Road TV show, explore historical sights of importance to the Black community that are Hidden in Plain Sight. The Good Road always offers thought provoking social commentary.

Our oral stories pass from one generation to the next and new storytellers emerge. Whenever a few are gathered there is always at least one person in the room who is full of tall tales, and even if they’re not funny stories, Grandma or Uncle Frank have family stories to share. So, listen up and when it’s your turn, take up the torch, tell us a story and keep the people and places of the South alive.

It is with great sorrow that we share the loss of a truly great Southern Character. Robert Giddens, better known as “Shotgun”, graced the pages of our first “The Hidden South, Issue 3.” What a wonderful, kind man he was. Shotgun loved his family and friends, and he was loved by all.

Nothing made him happier than attending church singings across Alabama and performing his favorite “Beulah Land.” Shotgun, a barber by trade, wore many hats in his life and was actively involved in making life in his hometown of Ashland, AL a better place. He will be missed, but his legacy lives on through the wonderful stories that will be told about him. It was our great pleasure to know him.

Scott Speakes // Publisher

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SUMMER 2021

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CHAPTER 1

SOUTHERN COMFORTS

Photo: Maren Winter

11

Photo: Andrew Shurtleff Photography

by Mallivan

F O O D

NOTHING COMMON THIS TRIO OF FRIENDS IS FOCUSED ON SUSTAINABILITY, FAMILY AND WELLNESS Written by Laura Drummond / Photography courtesy Commonhealth From planting cuttings in the soil to carrying bottles to market, the folks behind

Once their passion for elderberry was firmly established, the team started off as

Commonhealth Elderberry place their hands on and pour their hearts into every

small as one can imagine, with a few plants in the ground and lots of test recipes

step of their process to create small batch elderberry and elderflower blends.

in their home kitchens. The business took off and became official in 2019. To-

The seed for Commonhealth Elderberry began to germinate about six years

day, they have more than 600 elderberry plants growing on a family-owned farm

ago when three high school friends, Katherine Knight, Dustin Groves, and Kyle

outside of Charlottesville in Madison County, at the foot of Old Rag Mountain.

McCrory, returned to their hometown of Charlottesville, Virginia. After spending

“We just did our biggest expansion ever. We really tried to be a bit more sophis-

a decade away pursuing high-demand careers that took them across the country

ticated,” Groves said. “We’re learning every year,” McCrory added.

As they continue to grow, one of their

and the world, they were looking for a slower

main values is sustainability. Commonhealth

pace and a fresh start.

Knight, McCrory, and Groves had a de-

intentionally selected a native species of

sire to get back to their roots, have fulfilling

elderberry, Sambucus canadensis, even

work that would honor the place they grew

though a European, non-native species is

up, and have plenty of time with their grow-

more commonly used in most elderberry

ing families. Short on opportunities that fit

products currently on the market. “Your in-

the bill, they created their own—coming up

puts are not going to be as intensive as they

with the idea of handcrafting elderberry and

would be otherwise as far as water demands

elderflower concoctions using simple, high

and nutrition demands if it’s a native plant,”

quality ingredients. “Elderberry syrup is an

said McCrory. The native species is hardy,

interesting folk remedy that people have

low maintenance, and produces berries and

used for generations. We thought maybe we

flowers over a number of years. Common-

could try making some of our own and grow-

health also uses native soil with no chemical

ing our own berry source. It kind of evolved

pesticides or herbicides. “We love the land,

from there,” McCrory said.

and we want to utilize it in a way that is sus-

First, they researched and fell in love with the elderberry. While elderberry

tainable,” said McCrory.

is a popular crop in Europe, it is still on the rise in the U.S. The team learned

In addition to sustainable farming practices, Commonhealth carefully consid-

about the history of elderberry as a medicinal herb, used around the world for

ers how to be environmentally conscious in their production and distribution.

generations because of its immune-boosting benefits and anti-inflammatory

“It’s about looking at the whole life cycle of not only our plants but the end

properties. Rich in antioxidants, studies have shown that elderberries can be

product,” McCrory said. They recently reduced their footprint by migrating their

used to reduce cold and flu symptoms or to prevent cold and flu infections. Part

production space from Richmond to a spot closer to their farm in Charlottesville.

of Commonhealth’s mission is to raise awareness about the flavor, health and

They also use as many recyclable and reusable materials as possible when it

wellness benefits that elderberry products offer. “We are building something that

comes to bottling and shipping.

we love personally and are getting to share it with more people,” said Knight.

Another primary focus for Commonhealth Elderberry is transparency. “We want

13

SOUTHERN COMFORTS

to make people comfortable about knowing where their products are coming from and what they are. A value of ours is that sense of comfort and realness,” Groves said. Commonhealth keeps it simple with three products—syrup, shrub, and cordial—consisting of just a few organic ingredients. The elderberry syrup consists of organic elderberries, water, Meyer lemon juice, and organic cane sugar. The shrub includes organic elderberries, raw, organic apple cider vinegar, and raw, local honey. The cordial is an infusion of simple syrup with flowers from the elderberry plant.

It is essential to Commonhealth that customers know and trust the products they are incorporating into their daily wellness routines, which is why they use only clean, simple, and pronounceable ingredients. They don’t offer anything that they don’t use themselves. “We love what elderberry makes. We enjoy taking elderberry syrup every day. We enjoy making delicious cocktails and mocktails to share with friends and family,” said Knight.

Transparency is why it’s so important to the folks at Commonhealth to be

Photography by Piotr Wytrazek

involved in every aspect of their business. “We put so much attention to detail into every piece of the puzzle. It’s really based around togetherness, fun, and family,” said McCrory.

That togetherness shines through when they talk about their process from day to day, season to season. They each have a role in planting and harvesting, crafting and bottling, packing and shipping, sales and marketing. “For a small team,

Clockwise from upper left, 1: The beautiful and delicate elderflower have a dlight muscat aroma and can be eaten raw or cooked. 2: Elderberries are a low-calorie food packed with antioxidants. 3: Elderberry Syrup is a great addition to your daily health routine 4: Elderflower Cordial features the elderflower. Floral notes shine making it a great addition to water, soda, and cocktails. 5: Elderberry Shrub combines the benefits of organic elderberry with raw apple cider vinegar and local Virginia honey. 6: Elderberry Syrup can be enjoyed straight or mixed with your favorite soft drink or cocktail.

we’re thinking about a lot of different things. We love it because it complements all three of our skill sets very well. We’re never bored,” Knight said.

With some part-time help, they harvest the elderflowers over a two-week period in June and the elderberries over a four- to six-week period beginning in August.

Once harvest is complete, they set about drying the flowers and freezing the berries, which allows them the opportunity to make their products over time without wasting any ingredients. The team makes batches of each elixir, taking one to three days to complete, bottles the final product, and then gets it straight to the customer. Once complete, the products are shelf stable, allowing Commonhealth to ship throughout the United States.

It’s obvious that the tight-knit, family-oriented nature of the business is a recipe for success. While the coronavirus pandemic has thrown a wrench into some of their plans, the Commonhealth team has no intentions of slowing down.

“We’re just trying to keep moving forward with the things that we know are going to be important for the future of the company,” said Groves. “We think there are a lot of directions elderberries can go. We hope to share exciting news in the future about new products Commonhealth is developing,” added Knight. Until then, there is plenty to enjoy with their current offerings—from taking a spoonful of syrup in the morning or as fun as adding the shrub or cordial to a mixed drink, tea, or other afternoon beverage.

Learn more at commonhealthelderberry.com.

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Photography by Kloeg008

“WE LOVE WHAT ELDERBERRY MAKES. WE ENJOY TAKING ELDERBERRY SYRUP EVERY DAY. WE ENJOY MAKING DELICIOUS COCKTAILS AND MOCKTAILS TO SHARE WITH FRIENDS AND FAMILY.”

Photography by Lesyy

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SOUTHERN COMFORTS

S T Y L E

N A N A B Y S A L LY Women are notorious for having massive collections of handbags, artdaughters, and it has also given me enough consistent challenges to fully using them as the finish to a look and finding any excuse to buy keep me interested and fulfilled.” “just one more.” For South Carolinian Sally Peek, an incurable passion From the totes and wallets to the mini zip pouches bearing her label, for handbags became the basis for Nana by Sally, LLC— everything Peek creates is unique and bears her parthough you won’t find Peek collecting them, but rather ticular fingerprint. “Handmade products are special bemaking them. cause they tell a story,” she says. “They are often deeply Begun in 2007 after the birth of her first daughter, Nana connected to the maker, allowing the transfer of the item is the culmination of Peek’s search for a creative outlet from creator to consumer to be more meaningful. The that gave her an escape from working full-time and parvalue of that transaction matters because it makes us enting a new baby. A sewing class at a local museum one more thoughtful consumers and certainly more connectSaturday was all it took to give her a new direction, and ed to our community and our world.” the handbag she’d made in the class served as the inspiAnother unique aspect is the materials themselves. ration for additional patterns of her own. Within weeks, “Once, I got my hands on some dead stock denim from she had sold multiple bags to her family and friends and the former Cone Mills plant right up the road in North obtained a business license to legitimize the extra funds Carolina,” Peek says. “I created a limited run of bags she was making from bag sales. And thus Nana was from it and had a wonderful experience hearing from Sally Peek born—thoughtfully named for Peek’s great-grandmother, customers who had a direct connection to that mill. I’m Nana, who had a major influence in her life. currently partnering with Cococo furniture for leather Nearly 15 years in, Peek hasn’t lost a step—or an ounce of passion for remnants from their handmade furniture line. These human interacher work. “I never thought my business would be approaching the 15tions are incredibly meaningful to me and fuel my creative drive.” year mark,” Peek admits. “However, I have yet to wake up and dread Peek’s process is never the same from collection to collection and ofgoing to work. I think all business owners are motivated by growth, but ten driven by shapes, lines, and color combinations as well as vintage I have learned through my years of running Nana that value and growth prints that pique her interest and stir her creativity—always with the are often measured in a multitude of ways. This job has allowed me intent of sustainably sourcing her materials. Nana bags can be found creative freedom and the ability to be present in the raising of my two online @ nanabysally.com Written by Liesel Schmidt

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H O M E

NASHVILLE SOAP “What Soap is to the Body, Music is to the Soul.” It may not be exactly website and expand the product line to include salt and sugar scrubs, what the old Yiddish proverb says, but it’s an appropriate take on the candles, hand and body washes, tub soaks, and perfume oils in addiwords—especially for a soap company based in Music City. tion to artisan soaps, Strasburger soon found herself at the helm of a Created in 2016 by Becky Strasburger, Nashville Soap successful company.

Company is the culmination of time, study, and tri“I always aim to create products that make people feel al-and-error to find the best ingredients and processes good—not only about what they are putting on their skin, for making handmade soaps. It started out as a labor but also about the product itself,” says Strasburger. “My of love, actually, a desire to use only the safest, most inspiration comes from my desire to offer truly natural natural products after Strasburger and her husband had products that are also effective. Natural does not have their first child. Having left a nursing career to become a to be boring, and I try to reflect that in our packaging stay-at-home mom, she found herself paying close attenand scent offerings. I also want our customers to feel tion to what her family was putting on their skin—most like they are getting a little piece of Nashville with each notably soaps. Countless hours of research and testing product, because I am inspired by this city in many as she crafted her own cold-process soaps led to not just ways; and our products are made with a whole lot of an interest in the whole process, but a love for creating. love here.”

And the process is, indeed, a process, from choosing the A whole lot of love—and only the good stuff. Each inBecky Strasburger skin-nurturing oils and butters she uses to selecting the gredient is natural, vegan-friendly, and free of artificial intoxicating essential oil blends and natural clays that go preservatives, additives, colors, or artificial fragrance. into in each batch of soap. “I fell in love with the process and possiColorants are from naturally derived clays, which are also beneficial bilities of creating soaps from scratch, and I loved knowing that they to the skin; and the company uses only therapeutic-grade essential were made with safe and natural ingredients,” says Strasburger, whose oils to add fragrance to their products. As their website says, “Tested family is very much involved with the company. by us and on us.” The company is also committed to giving back, with Those first soaps she made for her family were just the beginning. After 10 percent of all sales from their “Nashville” product line donated listing a handful of soaps on Etsy, she was met with an overwhelming to Nashville Rescue Mission. Shop @ nashvillesoapcompany.com and response—and a demand for more soaps. Motivated to start her own boutiques in the Nashville area.

Written by Liesel Schmidt

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SOUTHERN COMFORTS

H O M E

RELISH Food is a love language unto itself—especially in the South. And as “Cabell and her team create the ceramic piece by hand in her studio, much thought as we put into the food itself, we also think about preand many versions of the same piece are created until our design team sentation. Part of being a gracious host is wrapped up in the picture, feels that we’ve gotten the size, shape, and designs just right. The and that’s ingrained in all good Southern hosts molds are then sent to a factory, where the resin is from an early age. poured, and exact colors are used to create the perFor friends Susan Peterson, Cabell Sweeney, and fect piece. It takes about three to six months to get Erika Laughlin, that was the idea behind Relish, a new piece in the line once we start the process,” a unique line of melamine serving ware that looks Peterson says. just like handmade pottery—until you pick it up.

One thing that makes Relish such a special com“The idea of creating an elegant and sophisticatpany is their dedication to the handmade process. ed melamine product that is functional for every “We love handmade things,” says Peterson. “That’s day, but also beautiful and something that anyone how we got started so many years ago, and handwould be proud to set their table with, has been crafting still drives what we do today. The larger proa long-held dream,” explains Peterson, who has duction of our melamine line comes out of creating been business partners in the ceramic industry each piece by hand—in fact, many people would be Susan Peterson, Cabell Sweeney with Sweeney since 2003, when they created Casurprised to know that the melamine process takes and Erika Laughlin bell’s Designs. Together, with Laughlin, they creata lot of hands-on work to create a finished product, ed a unique sister company more focused on the even hand sanding each and every piece so that it everyday. “Our goal was for someone to not even know it’s melamine is as smooth and perfect as the next.” until they hold it in their hands. Relish is just as at home next to linen The line includes many styles, each perfect for everyday use. “Hostand silver as it is with paper towels and takeout. That’s why we call it ing family and friends should be easy and care-free, without the fuss ‘Today’s Everyday.’” or worry of anything breaking; and that is what Relish is all about,” The process of creation—and the designs—are unique to Relish, givPeterson says. Relish is also about giving back, and the company ing the pieces a handmade look because they are actually cast in a regularly donates to local food banks and non-profits. Shop online @ mold made in the Cabell’s Designs ceramics studio in Rome, Georgia. alwaysrelish.com and boutiques thoughout the country. Written by LS

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FOOD

ADAM’S APPLE “Authentic.” It’s one of those buzzwords that people seem so keen on proper labeling—this, while peeling, cooking, and canning 80 pounds when it comes to branding. And for Adams Apple Co., there couldn’t of apples for each batch and working around the clock. be a more appropriate word.

While the first year was a successful one, Adams knew she needed Established in 2014, owner Theresa Adams is every bit to make changes and utilize her marketing background. what you’d hope for in an apple queen—most importantSince then, she has launched additional products and ly, a deeply rooted love of all things apple. Even now, flavors, perfecting her recipes and her packaging and she has vivid memories of watching her aunt and uncle’s giving it a signature plaid label—a nod to her love of family make apple butter in a giant copper kettle over a plaid. “I’m a plaid enthusiast,” she says with a smile fire at their farm in rural Illinois, using a massive wooden and a shrug. paddle to cook down the apples and mix in huge bags of “I created each of my products with memories in mind— sugar. The jars of apple butter that resulted were sold for memories of family, tastes of the South, and tastes of money, and the little girl watching learned how to turn memories yet to be made,” Adams says of her recipes, apples into magic. which she creates in her home kitchen and then perYears later, Adams called upon her knowledge of apple fects before she takes them to her manufacturer to be butter and began making her own as an inexpensive and made—still by hand—in large batches. And while she thoughtful gift for her friends and family during her lean may have created additional flavors, there is still always, Theresa Adams college years. When she met and married her husband— always an element apple. “The required ingredient in whose last name, serendipitously, was Adams—she coneach is some form of apple: apples, apple juice, or apple tinued her craft, giving it as Christmas gifts and working on the recipe cider vinegar,” explains Adams, who lives in Lexington, South Carolina over the years to perfect what became known as Adams Apple Butter.

In the fall of 2015, she introduced Adams Apple Pie Jam, followed Two decades of giving her apple butter as a gift gave Adams the conby Adams Apple Cranberry Butter in the fall of 2016, Adams Apple fidence to enter the South Carolina State Fair in 2014, where she Pumpkin Butter in 2017, and 5 more products in 2018. The line now won a blue ribbon. That was enough to tell her that she should pursue includes her Southern-inspired chow-chows. Adams Apple Co. prodmanufacturing, but the process was arduous: getting samples tested, ucts are available at independent retail stores around the country as finding a DHEC approved kitchen, passing inspection, and creating well as @ adamsappleco.com, and will launch on QVC in July.

LS

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SOUTHERN COMFORTS

Q&A B A C K R O A D S

The photography of Susan Daley and Steve Gross Written by Liesel Schmidt / Photography courtesy Susan Daley and Steve Gross Traveling the country, there are so many iconic buildings to behold. They cry

general stores, and abandoned motels.

out with history, telling stories of times long past that we can only imagine.

Q : How long have you been in partnership as photographers?

Off the beaten path, however, are some of the forgotten: old homes and an-

A : After college graduation, we moved to a semi-raw loft in Manhattan and

cient shops, rusting garages and time-worn road-side cafes, weather-beaten

opened our own commercial photo studio, where we were doing advertising

barns and crooked silos…They all have a past. They all speak in hushes and

work for major companies.

Q : How did your architectural photogra-

whispers, offering tales that we can barely hear but want to know. In exploring them,

ous little buildings that catch an ce and grab your hear t.

we explore a piece of ourselves—where

phy begin?

Gross & Daley

B A C K R O A D S

e Scott Brown, architect , Venturi, rown and Associates

we’re going.

B U I L D I N G S

I N

For photographers Susan Daley and Steve Gross, seeking out those unpolished trea-

seen so much: heartache and triumph, despair and hope, desperation and pros-

O F

T H E

V E R N A C U L A R

perity. Age has washed over the buildings Here is the America that America is leaving $39.99

they have captured on film, time has worn —Richard Russo, author of Nobod y ’s Fool, Empire Falls

for many of the shelter magazines, phoand gardens. Whenever we traveled to interesting places to shoot for editorial stories. On one trip through Charleston, South Carolina, we came upon the beautifully dilapidated Aiken-Rhett House and photographed all its gently decaying

behind. These are haunting images.

53999

traveled across the country on assignment

new locations, we’d keep an eye out for

V E R N AC U L A R

tell the untold stories of a nation that has

S E A R C H

T H E

parts of architectural history, is a way to

A : In addition to our advertising work, we

tographing architecture, interior design, I N

O F

sures, the primitive and unpretentious

S E A R C H

136-4

we come from, where we’ve been, where BACKROADS BUILDINGS

364

B E A U T Y

Steve Gross & Susan Daley

rooms. This led to publication in World of

off the sharp edges and roughed up the

Interiors magazine and our first book, Old

smooth lines. In their rawness they are

Houses. Since then, we’ve done 12 other

beautiful. In their dilapidation they are somehow exquisite. These are stories

books. Backroads Buildings is the 13th. In all of our books, we’ve tried to

that need telling, and so Daley and Gross tell them in Backroads Buildings,

capture the true sense of place in different regions of America, as shown in

using the images as words that have incredible strength.

the historical buildings that populate the landscape.

Q : What do you love most about photography?

Q : How did the two of you meet?

A : We love the act of discovery in photography. It’s also a practice that forces

A : We met while attending the University of New Mexico in the ’70s. We’re

you to slow down and actually see—to look and examine details and scenes.

both from the suburbs of New York City; so over the four years that we studied

It also allows us to share our vision of the things that we feel are important

in New Mexico, we drove across the country together quite a lot of times.

and want to preserve.

It was always our preference to take the more scenic and interesting route

Q : What gave you the inspiration and direction for the book, and how did you

through the Deep South and then up through the Carolinas and Virginia to the

choose the buildings that you photographed?

NYC area. When possible, we’d travel the older highways, noticing and ap-

A : We’re inspired to document and share these useful, often quite humble,

preciating all the vernacular buildings along the way, such as roadside cafes,

buildings because they are an important part of our country’s heritage that

20 okramagazine.com

SUMMER 2021

we think should be at least visually preserved. The bypassed buildings are remnants of an age before strip malls, chain restaurants, and big box stores took over the landscape. They take their forms from the needs of everyday human life and, in many cases, are still serviceable. They infuse small towns and rural crossroads with a distinctive character, as well as being beautiful in their own right.

Q : Which photograph was your favorite?

A : The book is a culmination of about 20 years of work, and many of the images were made between 2003 and 2005, when we were working on our Creole Houses book in Louisiana. New Orleans and the surrounding countryside are probably our favorite locations.

Q : Did you feel welcomed by the communities you visited for the book?

A : We’ve met many wonderful people along the way who helped us find interSmile Inn Roadhouse, Des Allemands, LA

esting places and shared our enthusiasm; so, yes, we’ve always felt incredibly welcomed! Most of the time, we were shooting in very quiet, remote rural areas where there wasn’t anyone else around. Still, there were instances when someone would happen by, curious about what we were doing, and give us some local history and anecdotes. It made the project all the more interesting.

Q : How does your exploration for the book inspire your work, and who has influenced you the most?

A : The road trip in itself is a genre of photography, an immersion into the landscape involving spontaneity, discovery, and selection.

We were first inspired by road trips as seen in the work of FSA photographers such as Walker Evans and Dorothea Lange as well as the work of Robert Frank. We’re also inspired by the work of Atget and his documentation of Paris, his ability to grasp sense of place through empty streets.

Q : What is your creative process?

Community Praise House, St. Helena Island, SC

A : Our process is to get in the car and see what we may find along the way!

We never know what we may find around the next bend in the road—sooner or later a vernacular building that we love will present itself. Our process really involves the act of discovery, so we’re constantly taking road trips. This book is a collection of places we’ve found in the last 20 years or so of travels, and the places we choose to stop and photograph are simply ones that appeal to us.

Although we photograph each place in a straight-forward way, we are not really looking to plan out and create a typology, but rather to concentrate on the individual, unique characteristics of each building and bring those out in the photo. We like to show a bit of the contextual environment, but not too much.

Q : Where is your work?

A : We’ve exhibited at the O.K. Harris Gallery in NYC and our work is in the Smithsonian, The Bronx Museum and several prominent collections. This past year we had an exhibit in Blue Gardens at The Fenimore Art Museum in Cooperstown, NY.

Adams Grove 1853 Church, Dallas County, AL

Find the book at Amazon and other fine book stores.

21

OU TL AW SPIRIT

SHANNON MCNALLY COVERS WAYLON JENNINGS ON NEW ALBUM Written by Jim Beaugez / Photography by Alysse Gafkjen

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When Nashville-based singer-songwriter Shannon McNally was growing up on Long Island in the early 1980s, she and her siblings would play in their mother’s ’69 Dodge Charger, sliding in and out of the open windows like the stars of their favorite TV show.

While the ’69 Charger on “The Dukes of Hazzard” had a custom orange paint job that turned it into the iconic General Lee, the McNally family model was a stock turquoise. But no matter—the lasting impact of the show on her had to do with its narrator, country music star Waylon Jennings, and “Good Ol’ Boys,” the theme song he wrote and performed.

“That was my first memory of Waylon Jennings,” says McNally, who will release The Waylon Sessions [Blue Rose/Compass], an entire album devoted to the country outlaw’s songs, on May 28. “I’ve always remembered the sound of his voice, and the way he narrated that show. And as a little kid, it was right up there with ‘Star Wars.’”

McNally, seven albums deep into a solo career that began around the time the music industry took its first hit of the digital era courtesy of file-sharing services like Napster—an uncertain time she remembers as “the death of those behemoth companies, [but] the birth of a million other things”—says the idea for her latest project came as the answer to a question some artists wait entire careers to hear from their record label.

“Joe Poletto, who runs the Blue Rose artist collective, comes from outside the music business,” she explains, “so he wasn’t really trapped by the usual script. He’s pragmatic and a businessman, and he just said, ‘Well, what would you do if you could do whatever you wanted to do right now?’”

McNally hadn’t thought in those terms in a long time. Her journey through the high-stakes record business grinder began with Jukebox Sparrows [Capitol] in 2002. A collection of Americana songcraft in the vein of Sheryl Crow, backed by A-list industry players and supported by a tour with John Mellencamp, the album nonetheless failed to find a large audience.

“I didn’t have a manager, and I didn’t know anything about managing a tour,” she says, “and I wasn’t playing clubs—these were 25,000 seaters. I learned a lot about CD distribution and merchandise, and I had a crash course in being a rock star.”

Still, she was shuffled to the EMI imprint Back Porch Music for her 2005 follow-up, Geronimo, which met a similar fate. By then, the days when record companies developed artists, allowing them a few albums to define their sound and build an audience, were long gone. “It was not something that I was able to sustain because the music business began to crumble, and I was making music that wasn’t quite sugary enough for what they were really promoting at the time.”

McNally had relocated from Los Angeles to New Orleans in the interim, a move that both inspired her and nearly broke her. The city’s collaborative, nurturing music scene was a welcome change from an industry epicenter obsessed with youth. Back in L.A., her record label had even fudged her age from 23 to 18 in her press bio.

“At 23, I was already too old because they were signing girls that were 14 and 15,” she says. “Because you get them young, you raise them up to suit yourself and you don’t tell them nothing. That was the mentality. I can try and be nice and play nice and do that thing that women did forever, which is smile and nod your head and then do what you want to do. It was a dance, but it all fell apart.”

Hurricane Katrina drove McNally and her husband to northern Mississippi, where they rented a shotgun shack in Taylor, a small town near Oxford and the University of Mississippi, then began the long process of figuring out what to do next. They repaired their house in New Orleans and rented it for a while, but eventually had to sell.

“It just became too hard; it was a long, drawn-out, painful death,” she says.

“But the day we got a landline [in Taylor], the first call we got was from Thacker Mountain Radio from Jim Dickinson, asking my husband to play drums in the house band.”

Dickinson was rock ‘n’ roll royalty—he played piano on The Rolling Stones classic “Wild Horses” and produced influential albums from bands like Big Star and The Replacements—and the Thacker Mountain Radio Hour was a hit on regional public radio. The local music scene embraced McNally, and she returned the affection on albums like Coldwater, produced by Dickinson and named for the Mississippi town.

But as her musical output continued, so did the tragedies of life: Her mother developed terminal cancer just as McNally’s marriage was coming to an end.

She was also finding it harder to make a living playing music. When those chapters of her life closed, she left for Nashville, where she had already built a network of friendships with artists like Rodney Crowell, who produced her 2017 set Black Irish [Blue Rose/Compass].

After rolling with life’s punches for so long, she put a lot of thought into Poletto’s question. As she reconnected all the dots of her music career, her influences and people she had played with, Texas was a common denominator. And with Texas on her mind, she went all the way back to Jennings, who grew up in the far-west Texas town of Littlefield. The Waylon Sessions became a way for her to reset her life, while also flipping the gender coin on one of outlaw country’s seemingly toughest characters.

“Waylon is pretty well-mined territory, but I had never heard a woman singing any of it, and I did think that was interesting,” she says. “In my mind, it’s not a big deal at all. But I do realize the cultural narrative that we are currently in, [and] I do think there’s some peace that I would like to see waged on the whole concept of gender and what it is to be a woman and to be fully realized.”

McNally tackles the barroom swagger of “I Ain’t Living Long Like This,” “Black Rose” and “I’m a Ramblin’ Man,” positioning her sultry vocals against piano-led boogie and steel guitars. Her version of “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” which Jennings recorded with Willie Nelson, is faithful to the original, while the inclusion of “You Show Me Yours and I’ll Show You Mine” is a wry choice.

Contrary to the rough and violent images the word “outlaw” can conjure, Jennings and his contemporaries were merely seeking their own path in music and life, a more honest direction than what they found in Nashville’s hit machine. In Waylon: An Autobiography, Jennings wrote: “For us, ‘outlaw’ meant standing up for your rights, your own way of doing things. It felt like a different music, and outlaw was as good a description as any.”

McNally finds that same spirit in her song choices and performances on The Waylon Sessions. “He was a good-natured good ol’ boy,” she says. “I just saw Waylon as a peacemaker and somebody who shared his sense of freedom. And that’s something that I wanted to channel as a woman.”

23

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CHAPTER 2

TO DINE

SOUTHERN

25

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Afternoon Tea in the Garden

Written by Julia Haynes / Photography by Henry Gonzalez / Styling by Laura McLeod Cole

It’s no secret that sweet iced tea is a staple in the South. No Southern meal

“the real Ivory Road,” hence the name for her café. She traveled the world

would be complete without it. We take pride in the knowledge that we have

extensively working in many restaurants along the way. Wasilewski knew she

some of the sweetest and most refreshing iced teas found anywhere.

wanted to open her own place someday, but the details were sketchy. “I'm

For many, the main beverage of choice for a Southern afternoon tea is iced

not sure I knew exactly what I wanted to open, but when I moved to Asheville,

tea, and that’s just fine. In the sweltering heat and humidity of a Southern

I found this building on Craigslist and thought it was just perfect. It was

summer, you’d expect nothing less. Yet, hidden away in quaint historic tea

built in the 1930s and just has so much character. I thought breakfast and

rooms, small cafes and private gardens throughout

lunch, plus a bakery, suited it perfectly. Afternoon

the South, hot steeped teas are most desirable at

tea was an added service we started a few months

tea-time.

after opening.”

And if we’re talking about afternoon tea, we have

“I went to tea with my mom and sister at a younger

to talk about the scones, tea sandwiches, pastries

age – as we grew older, tea started to include my

and more that accompany a typical traditional tea.

sister-in-law and nieces, too. I definitely have fond

One of our favorite places for a relaxing tea is Ivory

memories of the tea houses we used to go to – we still

Road Café, located in Arden, North Carolina, just 15

talk about them! For us, it was a special girls-only

minutes south of downtown Asheville.

get-together.”

Owner Jill Wasilewski attends to all the delicious

The Afternoon Tea at Ivory Road Café brings a

details at Ivory Road. Their teas are sourced from

laid-back, relaxed approach to the traditional En-

many different places, but one of their primary

glish-style service. While they do serve shortbread

sources is the local Asheville Tea Company. The

and real clotted cream to dollop atop their tender

company makes a variety of blends and focuses on

scones and homemade jams, you’ll also find Appala-

sourcing from the Western North Carolina area and Southeast. Wasilewski

chian-inspired twists on the menu: pimento cheese, tomato and country ham

shares, “my favorite of their teas (technically a tisane) is the Hibiscus Mojito.

tea sandwiches and deviled egg with smoked salmon are just a few of the

It has a zing from the hibiscus and refreshing notes of mint, plus it brews a

many offerings. They make absolutely everything from scratch. In place of

beautiful reddish/pink color.“ If you’re looking for an actual tea, Wasilewski

white-gloved service, you’ll find loads of Southern hospitality.

recommends a South African Rooibos tea known for its caramely and almost nutty taste. Rooibos offers a soothing, relaxing flavor.

“Our tea service is a relaxed and laid-back, more Southern-style tea. I say that so people know what to expect when joining us,” explains Wasilewski.

Wasilewski’s personal favorite tea recipes are the scones and shortbread cookies on their menu and we have to agree. Both are staples of the restaurant's tea service. The scones are tender and flaky. Lavender adds a subtle perfume to the melt-in-your-mouth shortbread cookies.

“We follow the "standards" of English tea-service, but we put a more South-

Ivory Road’s main day for Afternoon Tea service is Saturday at 2pm. They

ern-twist on everything we do. We also want tea-time to be relaxing, comfort-

also offer tea during the week at 2pm, though Saturday is the "main" day.

able, and laid-back instead of a stuffy, prim-and-proper affair.”

Reservations are required.

Wasilewski grew up in a small town in Maryland on what she describes as

ivoryroadavl.com/afternoon-tea/

27

TO DINE SOUTHERN

IVORY ROAD LAVENDER SHORTBREAD INGREDIENTS 1 lb butter, unsalted, room temperature 200g sugar 480g all-purpose flour 135g cornstarch 1 tsp salt 2 tsp dried culinary lavender flowers INSTRUCTIONS Preheat oven to 350 degrees. In bowl of mixer, cream butter and sugar using paddle attachment until thoroughly combined and light and fluffy. Add all remaining ingredients, mix on slowest speed until dough is just combined. Turn dough out onto a well-floured surface, dust flour on top of dough and roll out using a rolling pin, to approximately ¼" thickness. Using any style cutter of your choosing, cut as many cookies from the dough as you can, placing them on a parchment-lined baking sheet as you go. Leave at least 2" of space between each cookie. You can re-form the dough scraps after your first cutting, roll out a second time, and cut more cookies. Bake at 350 degrees for 8-10 minutes, though baking time will vary based on the size of your cookies. Look for golden brown edges to know when they are ready.

IVORY ROAD SCONES INGREDIENTS 13 oz all-purpose flour ½ tsp salt 1 Tblsp baking powder 1 ½ oz sugar 6 oz butter, unsalted, cold and cut into small cubes 1 egg 1 egg yolk 7 ½ oz heavy cream Add-ins of your choice: lemon or orange zest, fresh finely chopped herbs, ½ cup of any: nut, dried fruit, chocolate chip, etc.

Milk and extra sugar for topping INSTRUCTIONS Preheat oven to 350 degrees. Combine all dry ingredients well with whisk. "Cut in" cubed butter, blend with fingers or pastry blender until it's thoroughly combined into flour, and the butter chunks are small and pea-like. Add egg, egg yolk, heavy cream, and any add-ins all at once and combine thoroughly, mixing as little as possible, with a wooden spoon. Turn dough out onto well-floured surface, dust flour on top of dough and roll out using a rolling pin, to approximately 1" thickness. Using a circular cutter, cut as many scones from the dough as you can, placing on a parchment-lined baking sheet as you go. Leave at least 2" of space between each scone. Brush the scones with milk using a pastry brush, and sprinkle with sugar before baking. Bake for 10-12 minutes, though baking time will vary based on the size of your scones. Look for golden brown edges to know when they are ready.

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SUMMER 2021

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HEALTHY MEALS 29

TO DINE SOUTHERN

t

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entHUSIASTIC SOUTHERNER Musings of a World Class Eater Written by Robert St. John / Painting by Anthony Thaxton

METHODISTS AND THE ART OF CAT FLOSSING In the South, parties come in all shapes, forms, sizes, and scope. They are

center-of-the-plate items, too: fried chicken, meatloaf, main-course cas-

held in apartments and homes, on lawns, patios, porches, and verandas.

seroles, side-dish casseroles, and dessert casseroles.

Whether city or country, beachside or poolside, Southerners are just

Casseroles have become the redheaded stepchild of the Southern lar-

as comfortable at a barbeque, crawfish boil, or pig picking as they are a

der. In these days of microgreens, boutique vinegars, and designer foams,

seated brunch, cocktail party, formal gala, or black-tie ball.

casseroles have taken a backseat to the trendy foods-of-the-moment. It is

Parties are also held in churches, not just holiday teas in the parsonage

a sin, in my book.

and post-nuptial receptions with non-alcoholic punch in the church par-

An honest casserole is true comfort food. As long as we can wean our-

lor, but the ultimate, end-all, and coup de grace of Southern cooking: The

selves off canned-soup fillers and other shortcut additions, the Southern

covered-dish supper.

casserole is as legitimate as any French cassoulet.

I am a Methodist, and we Methodists love a covered-dish supper.

The gosh-almighty casserole sits in an honored place of reverence at

Catholics have the rosary, those in the Jewish faith have a Star of Da-

a covered-dish supper. The tables are a Pyrex jungle of casseroles. From

vid, Muslims have prayer rugs. We Methodists can’t walk around with a

elaborately prepared entrees to cream-soup laden vegetables, the dishes

casserole dish hanging from our necks, so we host covered-dish suppers.

come in all sizes, shapes, and colors. Aromas rise from beneath the tin

A covered-dish supper is a mass-feeding event in which a select group

foil, fuse, and drift through the room. It is at that moment— just as the

of church members brings a portable dish for many to share. Enough

foil is lifted and the single-file line begins to move forward— that the

dishes are brought so that a collection of families have plenty of food from

entire room smells “Southern.”

which to choose. In the South, it is an opportunity for the home cook to

There is always a slight health risk involved in covered-dish suppers due

shine. Though in a church, the covered-dish supper has a definite party

to the fact that most of the items are being held at room temperature for

atmosphere surrounding it.

long periods of time. But Methodists— not typically known for living on

At my church back in the early 1970s, every mother in every family brought a dish. Some ladies excelled in desserts, some in vegetable side

the edge— would never let something as trivial as a bacteria-laden foodborne illness get in the way of a successful covered-dish supper.

dishes, others in the main course category. No one ever brought chain-

The covered-dish supper is also about fellowship. Sitting down with

store chicken or grocery-store cakes to the fellowship hall on covered-dish

one’s family, friends, and neighbors and enjoying a shared meal is a treat

supper night. The food was always made from scratch and always good.

that has, unfortunately, become less common over the years. We pull

The atmosphere at these gatherings was light, festive, and full of hope

through the drive-through window and bring home a paper sack full of

and eager expectation.

fast-food fried chicken and eat it on a T.V. tray while watching reality TV

Tables ran the entire length of the fellowship hall for the once-a-week

programs and call it “dinner.” Not so, the covered-dish supper.

feast, and every redcheckered inch was filled with a homemade specialty.

As a child, some of my fondest food memories are centered in the fel-

My church never hosted a we’ll-supply-the-meat-you-bring-the-vegeta-

lowship hall of the Main Street United Methodist Church in my hometown

bles-and-dessert covered-dish supper. The ladies in my church brought

of Hattiesburg, Mississippi. In my church, I knew who the best cooks

30 okramagazine.com

SUMMER 2021

“Simeon’s Gracie,” by Anthony Thaxton, 9x12” watercolor and pencil on paper.

31

were, and I always kept a close eye on the door when those women made

When the Widow Lancaster walked into the fellowship hall on cov-

their entrance. I knew who cooked the best fried chicken and who baked

ered-dish supper night, the conversational roar came to a halt, and the

the finest homemade cakes. I arrived at church early on covered-dish

crowded room fell instantly silent. All eyes focused on her. The entire

supper night and sat at a strategic location that offered a full and un-

church membership watched in measured stillness as she slowly shuffled

obstructed view of the food tables. From my perch, I watched closely to

across the room and placed her casserole on the table among the other of-

note the exact placement of the best-tasting dishes, making detailed

ferings. Once placed on the table with the others, conversations resumed.

mental notes so I could return to load my plate with those specific items.

Though now, the room’s silence was replaced by frantic whispers. “Pass

There is a certain conversational roar that covers a room when a

the word; it’s a congealed green-bean ring tonight.” Once the location of

crowd is gathered and waiting to eat. When all gathered are anticipating

the dish was noted, the room once again filled with normal chatter, and

a well-cooked meal, the banter level gains a tinge of excitement. On

the parade of casseroles entering the room resumed.

covered-dish supper night, the room was always alive and in full con-

I always pitied the late-comers who weren’t in the room when Mrs.

versational roar. From my seat, I listened to the volume of the room as

Lancaster arrived, for they were clueless when it came to trying to figure

it raised and lowered depending on which woman entered and which

out which dish was hers. Later, I watched with childish delight as the

dish she was carrying. The entrance of a gifted cook bearing a banana

uninformed and out-of-the-casserole loop church members ate supper,

cream pie with homemade meringue piled eight inches above the cus-

occasionally pulling strands of a thin, string-like substance from between

tard made the room’s conversation level swell in noisy anticipation. A

their teeth. I called this covered-dish-supper practice “cat-flossing.”

woman lugging a Cool Whip-topped strawberry shortcake made with

Up North, covered-dish suppers are called potluck dinners. The food

leftover cornbread brought the noise level down a few decibels as an

is bland and tasteless. Northerners sit around eating unseasoned meat

audible disappointment covered the room.

and talk about how much snow they shoveled that morning. Down here,

In my church, there was an elderly woman who had a houseful of cats.

in the epicenter of the Bible Belt, we have parties in churches where we

Let’s call her Mrs. Lancaster; may she rest in peace. Mrs. Lancaster’s

eat fried chicken, potato salad, green bean casserole, broccoli casserole,

cats were known to climb all over her kitchen counters and in and out of

chicken and dumplings, chicken pie, barbeque ribs, butter beans, peas,

her cabinets. They ran wild in the streets and lived in, under, and on top

cornbread, yeast rolls, assorted pies, homemade ice cream, and coconut

of her house. She didn’t keep the cleanest house, and it was not unusual

cakes, while simultaneously keeping a close eye on church members who

to find a few dozen cat hairs in any casserole Mrs. Lancaster brought to

own more than three cats.

a covered-dish supper.

robertstjohn.com

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ROBERT ST. JOHN’S BAKED SHRIMP AND SQUASH © Robert St. John 2001

It seems appropriate to include a casserole recipe as an accompaniment to this article.

This one is outstanding and one that I look forward to having in the summer when it makes an appearance at my restaurant, Crescent City Grill. It seems to fit into any situation, from a “fancy” ladies luncheon, to a neighborhood pot-luck.

I have always believed that my baked shrimp and squash recipe is a perfect example of Pineywoods cuisine. It makes use of shrimp harvested an hour south in the Gulf of Mexico, it has Creole seasonings from New Orleans and the Louisiana bayous 90 minutes to the southwest. And it draws its main ingredient from the South Mississippi garden.

RELAX.

INGREDIENTS 6 cups squash, cubed (¾-inch cubes)

½ cup onion, medium dice

¼ cup clarified butter or canola oil

¼ cup red bell pepper, medium dice

1 Tbl garlic, minced

¼ cup green bell pepper, medium dice

1 tsp salt

4 Tbl butter, cubed

1 tsp pepper, freshly ground

½ cup parmesan cheese

1 Tbl Creole seasoning

1 cup cheddar cheese, grated

½ cup green onion, chopped

1 cup sour cream

3 cups wild-caught, domestic Shrimp

¼ cup green onion

(36–42 count), peeled and de-veined

RECHARGE.

1 Tbl hot sauce

¼ cup clarified butter or canola oil

1 cup Ritz Cracker crumbs, crumbled

1 Tbl Old Bay Seasoning

¼ cup parmesan cheese

1 Tbl garlic

2 Tbl parsley, chopped

DIRECTIONS Sautee the first seven ingredients until the squash is cooked. Place squash in a colander and press out excess moisture with the back of a spoon. Pour all into a stainless steel mixing bowl.

Sautee the next seven ingredients until the shrimp are pink and cooked through. Transfer shrimp to the mixing bowl with the squash.

Immediately add butter, parmesan cheese, cheddar cheese, sour cream, green onion and hot sauce to the bowl with the hot shrimp/squash mixture. Stir well until butter and cheeses are melted.

RECONNECT.

Pour the mixture into a 9" x 13" casserole dish. Mix together the Ritz crumbs, parmesan and parsley. Top casserole with the cracker crumb mixture and bake at 350 degrees until bubbly.

Yield: 6-8 Servings

Recipe published in A Southern Palate Cookbook, Different Drummer Press

VISITGREENWOOD.COM 33

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S T U DY O F S U M M E R V E G E TA B L E S RECIPES COURTESY SHAUN GARCIA / PHOTOGRAPHYCOURTESY TABLE 301 RESTAURANT GROUP

To say Chef Shaun Garcia is driven, is obvious. At one point, Garcia was running a seven-acre farm for Soby's New South Cuisine, literally driving the tractor, he named Lucille, every day before coming into the restaurant where he is Executive Chef.

Born and raised in the South, Garcia has been around food his entire life.

He literally grew up from a baby in his grandmother's restaurant, a meat and three just outside of Spartanburg, South Carolina.

But despite his meat and three upbringing Garcia's true passion is infusing Gullah history and Southern flavors into the dishes he prepares at Soby’s New South Cuisine and incorporating as many local and heirloom vegetables as possible.

Shaun personally became a vegetarian in 2019 and his "Last Day of Summer Vegetable Plate" featuring Heirloom Bean Salad, Pickled Relish, Okra, Brussels Sprouts, Mushrooms would convince anyone else to go meatless for at least a meal.

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CHEF SHAUN GARCIA runs the helm at Soby's New South Cuisine, the restaurant that started the culinary explosion in Greenville, South Carolina in 1997 and remains one of the busiest restaurants in town 7 nights a week. Soby’s has become known for its modern twists on classic Southern dishes like barbecue shrimp and grits, fried green tomatoes with pimento cheese and crab cakes remoulade.

Every dish at Soby's has a story – even the bread service – the garlic and cheddar biscuits. While Chef Garcia changes the menu regularly based on what is available regionally and seasonally, there are a few staples that are always on the menu–classic dishes that are what gave Soby's the name it has today like she crab soup, shrimp & grits, fried green tomatoes and bacon wrapped pork tenderloin. The fried chicken has been named among the Best in the US (Today Show). Many of the signature recipes and Shaun's favorites are available in the Soby's New South Cuisine cookbook as well.

ROASTED PEPPER RELISH INGREDIENTS 2 red bell peppers 2 yellow bell peppers 2 beefsteak tomatoes 1 red onion, cut into thin strips 1 jalapeño, seeded and finely diced 2 Tbs fresh garlic, sliced thin olive oil 2 tsp fresh rosemary, chopped 1 Tbs dry mustard ¾ cup white balsamic vinegar ½ cup olive oil salt and fresh ground black pepper

DIRECTIONS Start by grilling the bell peppers until the skins are well charred. Place them in a bowl and cover with plastic wrap. When the peppers are cool, remove the skin, stem end, seeds, and ribs. Cut the peppers into thin strips. Cut off and discard the stem end of the tomatoes. Cut the tomatoes into quarters from top to bottom. Remove and discard the seeds and cut the filets (with the skin) into thin strips. Place the garlic slices in a small skillet with a touch of olive oil and cook on medium heat, stirring constantly until the garlic becomes lightly toasted and fragrant, taking care not to burn the garlic. Put all ingredients in a bowl. Season to taste with salt and pepper.

FIELD PEA SALAD INGREDIENTS 1 lb fresh shelled field peas ½ lb fresh french green beans, chopped 1 cup fresh corn, removed from the cob 1 red pepper, diced 1 tsp fennel seed ½ tsp celery seed ¼ cup whole grain mustard ¼ cup white balsamic vinegar ½ cup olive oil salt and fresh ground black pepper

DIRECTIONS Cook field peas in boiling, salted water for approximately 25 minutes, until tender, but not mushy. Skim off any foam that floats to the top.

Drain and allow peas to cool. Meanwhile, toast the fennel and celery seeds in a dry pan over medium heat to release their flavor and aromas. Be careful not to scorch them. Once the field peas have cooled, combine with all ingredients and season with salt and pepper.

PAN ROASTED BRUSSELS SPROUTS INGREDIENTS 1 lb fresh brussels sprouts, trimmed and halved ¼ cup canola oil salt and pepper, to taste extra virgin olive oil, to taste

DIRECTIONS Preheat oven to 400 degrees. In a medium bowl, toss brussels sprouts with half of the canola oil and season lightly with salt and pepper. Toss to coat. Pour brussels sprouts into heavy gauge pan, place in oven to cook, stirring after 10 minutes. Cook additional 5 minutes. Remove from oven, plate as desired. Finish the dish with a light drizzle of extra virgin olive oil.

PAN ROASTED OYSTER MUSHROOMS INGREDIENTS 1 lb oyster mushrooms, cleaned and trimmed 2 Tbs olive oil salt and pepper, to taste extra virgin olive oil, to taste

DIRECTIONS Preheat oven to 400 degrees. In a medium bowl, toss half of the mushrooms with half of the olive oil and season lightly with salt and pepper. Toss to coat. Pour mushrooms into heavy gauge pan, place in oven to cook, stirring after 10 minutes. Cook additional 5 minutes. Remove from oven and plate. Repeat with other half of the mushrooms. Cooking this recipe in smaller batches prevents overcrowding of the mushrooms, allowing them to roast instead of steam. Once second batch is done, plate along with the first batch. Finish the dish with a light drizzle of extra virgin olive oil.

PICKLED OKRA INGREDIENTS 1 lb. tender young okra, whole 1 quart water 1 cup distilled white balsamic vinegar ½ cup sugar 2 Tbs brown sugar, packed 2 whole cloves ground allspice, pinch salt, pinch 1 stick cinnamon

DIRECTIONS For the okra: Wash and rinse the okra in fresh cold water. Pack in Mason jar(s). Meanwhile, combine vinegar, sugars, salt and spices in a large pot. Bring to a low boil, stirring until sugar dissolves. Simmer for 35 minutes. Remove syrup from heat. Fill sterilized jars with whole okra. Pour hot syrup over the okra, leaving 1/2-inch headspace. Cap each jar when filled. Process pints 12 minutes in a boiling water bath canner. Make sure that as the jars cool, all of the lids seal tightly. If any do not, they will not be able to be held. These can either be reprocessed or placed in a covered container in the refrigerator and eaten as “refrigerator pickled okra.”

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TO DINE SOUTHERN

OKING O C

tH

WIT

t

Cheerwine: The South's Unique Cherry Soft Drink Written by Kate Parnell / Photography courtesy Cheerwine

Here in the South, we love our porches and barbecue. And we know how to relax while we are cooking that ‘cue. We also love our history and take great pride in being different. If you aren’t already a Cheerwine aficionado, learn more about the history and taste it. We think you’ll be hooked with one sip.

Uniquely Southern and undeniably delicious. It was 1917 and L.D. Peeler was looking to start his own soft drink business. His determination led him to St. Louis and a salesman with a wild cherry flavor that blended well with other flavors. Peeler was sold. Blending this cherry flavor with other flavors, he created Cheerwine in Salisbury, North Carolina during a sugar shortage. Happy with the taste, it now needed a name. With its dark

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SUMMER 2021

red color and cheery taste, the name "Cheerwine" was born. The bubbly effervescent soda with a one-of-a-kind cherry taste, born in North Carolina, became a hit.

Cheerwine may be the most versatile soft drink around. It’s good on its own and the unique cherry taste accents beautifully in all types of recipes.

From adding a sweet cherry flavor to barbecue sauce for that rack of ribs to adding that great cherry flavor to baked doughnuts, the possibilities are endless.

As the oldest continuing soft drink run by the same family, the Cheerwine story is as unique as the soda they produce. Grab a cold glass of this tasty cherry soda or add it to your recipes for a truly unique flavor.

Baked Cheerwine Doughnuts INGREDIENTS 2 cups flour, sifted 1 tsp baking powder 2/3 cup sugar ½ tsp salt 2 eggs 1 tsp vanilla 2 tbsp canola oil ¾ cup Cheerwine

DIRECTIONS Preheat the oven to 325*F and lightly grease the doughnut pan. Sift together the flour, sugar, baking powder, and salt in a large mixing bowl. In a smaller bowl or measuring cup, whisk to break the eggs. Add the vanilla and canola oil. Add egg mixture to the flour mixture, then add the Cheerwine. Carefully stir to mix everything together. Avoid over-mixing. You're looking for everything to be just combined. Spoon the batter into the baking pan. They'll rise a little, so don't fill each hole completely. Bake until golden brown, about 10 to 12 minutes. Remove from the oven and transfer pan to a wire rack to let cool for 5 minutes. Tap the doughnut pan against the counter a few times, then flip it over to slide the doughnuts out. This goes faster than pulling them out by hand, and often times ends up a bit prettier as well.

GLAZE 4 tbsp butter 3 tbsp Cheerwine 2 ½ cups powdered sugar ½ tsp salt

CHEERWINE GLAZE Melt the butter, but let it cool enough to be comfortable to handle. Transfer to a mixing bowl. Add the Cheerwine and salt, stirring to get rid of the fizz and make it easier to work with. Working with ½ cup at a time, whisk in the powdered sugar. Working quickly (the glaze will set in about 15 minutes), pour, spoon, or pipe over the doughnuts. Let the doughnuts rest for the glaze to harden, then enjoy!

Cheerwine Porch Sipper INGREDIENTS 4 ounces Cheerwine 2 ounces bourbon 1 tbsp lemon juice 4 dashes cherry bitters 2 cherries Lemon wedge

DIRECTIONS Fill a highball glass with ice.

In a cocktail pitcher, add Cheerwine, bourbon, lemon juice and cherry bitters.

Stir together to combine.

Strain into glass over ice and garnish with cherries and lemon wedge.

Cheerwine Glazed Ribs INGREDIENTS For the Ribs: 2 tsp kosher salt 2 tsp light brown sugar 1 tsp coarsely ground black pepper 1 tsp chili powder 4 lbs baby back pork ribs 4 cups Cheerwine For the Glaze: 1½ cups Cheerwine ½ cup cherry jam ¼ cup Worcestershire sauce ¼ cup apple cider vinegar ¼ cup tomato paste ¼ cup Dijon mustard 3 tbsp soy sauce

DIRECTIONS Preheat oven to 400°F and begin preparing ribs. In a small bowl, mix together salt, brown sugar, black pepper, and chili powder; rub all over ribs. Divide ribs between 2 large disposable aluminum roasting pans, being sure to place meat side up. Pour 2 cups Cheerwine into each pan and cover tightly with aluminum foil. Roast ribs, switching pans’ positions halfway through cooking, until very tender, about 1 hour and 45 minutes.

While ribs cook, prepare the glaze. In a medium-size saucepan, whisk together remaining 2 cups Cheerwine, jam, brown sugar, Worcestershire, vinegar, tomato paste, mustard, and soy sauce; set over medium heat. Let cook, whisking occasionally, until reduced and syrupy, about 20 to 25 minutes. Set aside.

Remove ribs from oven when tender. Remove foil and ribs from pans; pour fat and remaining liquid out of pans and discard. Carefully arrange for oven rack to be about 8 inches from broiler (no closer); preheat broiler. Brush ribs all over with prepared glaze and return to pans, placing meat side up.

Broil for about 5 minutes or until lightly charred. Serve with extra glaze on the side.

37

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CHAPTER 3

STORIES 39

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STORYTELLERS J O N E S B O RO U G H , T N

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THEATRE E K U N DAYO B E N D E L E

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WRITER SEAN DIETRICH

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SOCIAL COMMENTARY T H E G O O D ROA D T V

Photography by solidcolours

R A N K Y TA N K Y

the hidden south:

“

Storytellers

THE STORYTELLING TRADITION THAT YOU BRING FROM THE SOUTH, I DON’T KNOW WHERE IT AROSE, BUT IT’S STILL THERE. YOU CAN’T GO TO THE FEED STORE, OR THE COUNTRY COURTHOUSE WITHOUT RUNNING INTO STORYTELLERS.

“

CHARLES KURAULT

Tell

Me a Story Jonesborough, Tennessee’s National Storytelling Festival brings the world together with the power of storytelling.

Written by Deborah Burst / Photography courtesy Jay Huron & National Storytelling Festival

49

Left: Besides his many speaking dates, Tim Lowry is working on a family magazine influenced by the magazine published by Charles Dickens. PHOTO: JH Center Left: For Donald Davis telling stories is personal, “It’s not a Americans highlighting their struggles Top Right: Carmen Agra Deedy tours schools hosting 160-170 storytelling events a year where children beg for more mesmerized by every word. Bottom Right: Outdoor ghost

Here in the South, Southerners begin their storytelling the minute they

long overdue hunger, the crowd went wild listening to “tellers” from across

can talk. Even though you may not understand their gibberish, the body

the south.

language says it all. But then some mammas believe it begins in the womb

Nearly 50 years later, the festival remains the world’s premiere story-

as the tiny tike kicks up a storm during story time or falls fast asleep with

telling event, thanks to its producer, the International Storytelling Center

a bedtime fable.

(ISC). The ISC engages people year- round, spawning hundreds of storytelling programs, festivals, organizations and activities across the country

Although the term storytelling is relatively new, the ancient art of telling

and worldwide.

tales soothes the soul today as much as it did centuries ago. During the

Inside the packed tents, dozens of people are fixated on the storyteller.

hunter-gatherer age, villages leaned on their storytellers for guidance with

Hypnotized by the inflection of their voice and a simple pause that says

stories focused on sharing, empathy and justice. The better the teller, the

so much. No matter the story, one thing for sure, life will be better when

more peaceful and profitable the village.

you listen to a storyteller. Time to meet some of the festival’s most lauded

So…can storytelling equalize our neighbors and bring the world together?

tellers.

Not long ago families sat down every evening at the dinner table sharing their daily stories. Sunday dinner was reserved for the extended family

Donald Davis

where tales of old were as rich as Granny’s peach cobbler. There were

Bow ties and starched shirts, Donald Davis, grew up inside the Southern

no beeping phones or screaming televisions; instead, stories that forever

Appalachian Mountains and has been telling tales at the National Story-

stayed in our hearts.

telling Festival for 41 years. A minister for over two decades, one may think

But there was nothing on a large scale until October 1973 when the National Storytelling Festival took roots in a centuries-old country town in

that storytelling was a natural crossover career. But it started well before that when both sides of the family came together every Sunday.

the heart of the Southern Appalachian Mountains. That was when Jerry

“There was no electricity, no running water, just constant talking, had

Clower, a Mississippi coon hunter and storyteller jumped on stage inside a

no idea it was called storytelling,” Davis confessed, adding that he would

packed high school gymnasium in Jonesborough, Tennessee. Satisfying a

then share the stories with kids in school. “I did the same in high school

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script, it’s the interchange, like a visit, it’s all about engagement. PHOTO: JH Center Right: Sheila Arnold tells stories for The Freedom Stories program which digs deep inside the Central Appalachian region, focused on African stories are held at night during the festival. PHOTO: JH

and college, just kept telling stuff.”

His first intro to storytelling was sitting under his dad’s preacher pulpit as

A professional teller works with their audience, painting the picture,

a little boy. But there were many more that left their mark. “I always walked

careful not to project a plot, knowing when to pause and leave space for

my own path, enjoyed spending time with old folks, many silver-haired

them to mentally catch up. The audience follows every word from a quiet

friends as my grandparents lived far away. My sister and I adopted an old

repose to a heavy dose of passionate prose.

mountain grandpa, Poppy Bear, a stout, giant of a man that told tall tales.”

Davis noted, “It’s not a script, it’s the interchange, like a visit, it’s all

And the eccentric Sunday school teacher nicknamed Ms. Gim, who loved

about engagement. They’re leaning forward, they’re laughing, turning say-

her warm, hot-wired heated toilet seat. Come Christmas time, she crafted

ing something to the person beside them. It’s fascinating to me.”

more than a dozen hot-wired toilet seats for all the parishioners.

Sometimes that magic moment is found in an elementary school. In the

His famed Stay on the Road story encapsulates one of Lowry’s more

middle of a story, a little girl covers her eyes and yells, “I can’t look!” Davis

passionate yet hilarious stories. He moved to Charleston in pursuit of be-

laughed and said, “It’s working, it’s working!”

coming a storyteller and took a job as a horse-drawn carriage driver. After

One of his well-known stories takes audiences on a tale from his child-

finishing one of his tours, wearing a Confederate uniform, he found himself

hood, his family’s first and only vacation, a road trip to Florida with a stop

at a revival service inside a historic black church. That experience dug

in Georgia. The frigid AC had their room so cold they slept with the door

deep into his soul giving him the courage to hit the stage. Even today, you

open. That’s when they discovered South Georgia’s massive mosquitos. He

can still see hear the passion as he embraces all the characters from the

proclaimed, “So big, bout half of dozen of them could drag a four-year-old

preacher’s mounting voice to the congregation’s mighty delivery and soon

off into the swamp and eat the meat off them.”

you are there with him screaming Alleluia.

Tim Lowry

raspy, frog voice is so beloved that even teenagers bribe Lowry with free

A man of many talents, a writer, a teacher, a history buff, and enamored

pizza to hear the Wild Mouth Frog. “They know me from kindergarten when

with Charles Dickens and Mark Twain, one of Lowry’s greatest gifts is trans-

I visited their school, and yell, ‘Do it, Do it, Do it.’”

Popular by both young and old is Lowry’s Wild Mouth Frog story. His

porting his listeners to a time and place.

45

PHOTO: Jay Huron

“

“

PACKED TENTS DOT THE LANDSCAPE OF THE 200 YEAR-OLD TOWN OF JONESBOROUGH, TENNESSEE

This page: A storyteller for 41 years, Donald Davis also conducts workshops for those who need help in gaining forgotten memories to build that library of storytelling.

Opposite Top: Center Building during Festival.

Opposite Bottom: Crowds on Festival Hill.

Carmen Agra Deedy

Storytelling Center, reminded everyone that storytelling is a truly democrat-

A mom, award-winning storyteller, children’s book author and host of a

ic art, as it doesn’t belong to one person or one group of people. “These

children’s radio show, Carmen Agra Deedy was born in Havana, Cuba,

are the stories that build little bridges, little connections, between us in

who moved to the U.S. as a refugee in 1964 and lives in Decatur Geor-

conversation. They thread together our common humanity.”

gia. Her work can be found in a collection of commentaries on NPR’s All Things Considered, along with several Ted Talk videos.

Stories do more than feed a child’s imagination. Deedy believes it is the grandest gift we can give our next generation. She still recalls her moth-

He added that once you understand your own story and your own identity, it’s not a giant leap to understand others as well. “There’s room enough for all of these stories to co-exist,” says Sirah, noting it’s even more critical in today’s world. “It is a matter of life and death, of survival.”

er’s countless fairy tales, her father’s most fan-

Sirah emphasized another opportunity in how

tastical bedtime stories, and their inexhaustible

our youngest citizens have embraced storytelling

sundry of family lore. “My girls grew up hearing

as a vital tool. “They’re speaking about issues

those same stories. Tales of their grandparents

that affect all of us—stories of universal im-

and great-grandparents, upon which I piled my

port—they are providing us with an incredible

own childhood recollections.”

opportunity to work together and build a better

No matter their age, there’s an undying cu-

world.”

riosity about their heritage. One that Deedy

The Freedom Stories program digs deep in-

believes engenders countless stories, “Children

side the Central Appalachian region, focused on

have a right to know about both the Sir Galahad

African Americans highlighting their struggles

in the family tree, as well as the horse thief. The

for freedom, equality, and justice. A whole new

former gives them a hero to admire; the latter

light on the stories never told, shared histories

allows them to understand and forgive their own

by those who lived the pain, the suffering, and

human frailty.”

those who fought for change. Many are in vir-

A favorite at the National Storytelling Festival,

tual format with a multimedia toolkit inviting

she relishes the event’s collective magic. “But

more participants and resources reaching people

what I love most is that moment when I find

across the world.

the teller I’ve been waiting for all year to see

“In addition to exploring neglected African Amer-

and hear. When they step onto the stage and

ican histories, the role of women, Latinx and

unspool a thread that begins a story, a story that

Asian members of the Central Appalachian com-

transports me to another place and time.”

munities are also being discussed,” explained

In her Ted Talk feature, Imagine a World With-

Dr. Alicestyne Turely, director of the Freedom

out Stories, Deedy closed with a vital message

Stories project. “Our efforts have created new

in how our children of today will lead our coun-

partnerships, increased academic inquiry, and

try of tomorrow. “Sharing a story with a child is

opened pathways to better and continuing dia-

much like an heirloom, an indestructible arti-

logue among disparate groups.”

fact,” she paused, took a deep breath, and said, “Its very existence relies on one immutable necessity—the story must

A Wakeup Call

be told.”

Much will be written about Covid’s sounds of silence. As the world slowly wakes from this pandemic slumber, we crave the ultimate brand of story-

International Storytelling Innovation

telling, gathering with others in a live theater, be it inside or outside—a

The ISC has harnessed the power of bringing people together for a com-

stage filled with Storytellers at the National Storytelling Festival.

mon cause. In turn, that brings more international voices, innovative modes of storytelling, and new digital partnerships.

Speaking in New York, Kiran Singh Sirah, President of the International

storytellingcenter.net

49

We All End Ekundayo Bandele, founder of Memphis’ Hattiloo Theatre brings the Black storytelling experience to life through the theatre landscape

Written by Amy Conry Davis / Photography courtesty Hatiloo Theatre

Up Stories

“ WE ALL END UP STORIES. WHILE WE TELL STORIES ON STAGE, THEY COME FROM SOMEWHERE, THEY REPRESENT SOMEONE. EVEN IF WE THINK IT’S COMPLETELY MADE UP THAT STORY HAS SOME FORM OF LIFE OR BACKGROUND.

“

Raised in Brooklyn’s Fort Greene neighborhood, Ekundayo Bandele grew up an only

gathering ideas through experimentation and experiences. Part of this search for

child, often left to rely on an inner world of books and imagination. He was an avid

identity and self-discovery even involved legally adopting a new name. ‘Ekundayo’

reader and content to fill his time writing his own stories. His parents divorced when

is a Nigerian word which means “to turn sorrow into happiness, as he reawakens

he was young but despite being shuffled back and forth between two households,

hope through God.” Bandele traveled the country and bounced around from various

they did their best to impart important lessons. From his mother, an opera singer

ventures, living as a self-described ‘serial entrepreneur.’ He ran a car washing busi-

and piano player, Bandele discovered the cultural arts. From his father, he inherited

ness, owned a vintage clothing store, wrote plays, and hosted spoken word events

his somewhat restless nature and penchant for moving from one new curiosity to the

and concerts. Nine of those years were spent laboring over his first novel, ”Tales

next. When it came to other sources of inspiration outside of his family, the author

Go ‘Round.” He also met and married his then-wife, Nicole, with whom he had two

Richard Wright made a big impression early on. Wright, who wrote several novels

daughters. All the while the storytelling remained but Bandele found himself seek-

such as “Black Boy’’ and “Native Son”, was influential in stoking Bandele’s desire

ing out more collaborative efforts and stepping away from solitary writing pursuits.

to become a novelist. This culmination of influences in his formative years would

He was interested in learning from others and acquiring new skills and all roads

shape his future identity as a Black man, artist, and storyteller. To listen to Bandele

seemed to lead to theatre.

talk about creators and the creative process today, you can hear the energy in his voice. Words, in all their forms and function, are as essential as air.

“When you’re writing a novel or a short story you’re pretty much living up in your head. You give it to an editor, and they put their two cents in,” says Bandele. “But

“I’m a person who loves language. I love conversation,” says Bandele. ”And

when you’re doing a play, you’re dealing with a director, stage manager, costume

there’s just something about creating a relationship between individuals based on

designer...you have a whole family of artists who are working together to bring your

circumstance and conversation.”

vision to life. That gives you a lot of different perspectives and various talents you

Bandele left New York in the 80s, headed for college at Tennessee State in Nash-

may not have. That is what really drew me into theatre.”

ville. It was there that his next phase of education in the arts began. Not only did

It wasn’t until Bandele was living in Memphis that the most dramatic shift in his

he read his first play, but he went to see his first play, ever, which was a rendition

career arose. He had moved there in the mid-1990s to be closer to the paternal side

of Dracula in the round. It was also during this period that he discovered yet an-

of his family. He was doing quite a bit of theatre work independently and had start-

other person who would come to hold a prominent place in his literary landscape.

ed a popular spoken word series at the Jack Robinson Gallery called The Speakeasy

His English professor, James Brydsong, introduced him to the book “Five Black

which began garnering attention from the arts community. It was a chance encoun-

Plays” and gently guided Bandele toward playwriting. Later, Bandele would trans-

ter at one of the shows that he met Michael de Caetani, a local businessman, who

fer to Morehouse College in Atlanta but he didn’t finish his courses. Instead, like

happened to be attending.

many other creatives, he struck out on his own circuitous journey of trial and error,

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SUMMER 2021

“When I met Michael, he was very involved as a donor in the arts, especially

Above: In June 2014, Hattiloo moved from its 75-seat theatre to a newly-constructed stand alone facility in The Edge District. Hatiloo Theatre is the only freestanding Black repertory theatre in five surrounding states.

theatre. He knew that I was a playwright and loved The Speakeasy and we became

and thrive. It’s coming into its own as a vital cultural hub and events center for the

fast friends. He asked me if I would consider opening a black repertory theatre in

city. In 2014, they moved a few miles down the road into a larger, 10,000 square-

Memphis,” says Bandele. “Michael was the catalyst.”

foot space on Overton Square. The sleek, new venue is equipped with multiple

Through de Caetani, Bandele would meet other people who would become men-

dressing rooms, offices, and a 150-seat capacity.

tors and eventually make up his founding board. Jackie Nichols, founder of Play-

Like hundreds of other theatres, the onset of COVID-19 last year dramatically

house on the Square, was another pivotal individual who introduced Bandele to

changed their daily operations, schedules, and small workforce. Bandele was forced

donors and let him borrow props and costumes for his shows. Everyone was eager to

to make considerable adjustments like cutting his staff of 12 employees down to

have Bandele lead the way for a new venue in the city, but he was hesitant. Mem-

three and totally revamping his programming calendar. What would typically get

phis had already tried several attempts at Black Repertory Theatres, but they were

planned 18 months in advance was now done ‘on the fly’ as city and state health

short-lived. Even in a town with a 64 percent Black population, Bandele thought his

mandates changed. And instead of the usual eight plays a season, he had to come

endeavor might share the same fate.

up with creative alternatives instead. Though other theatres were choosing to film

“To be honest, I didn’t think it was going to last. I thought it was going to peter

their performances, Bandele felt that took away from the reciprocal energy between

out after two or three years. With the absence of a Black theatre there really hadn’t

audience and actors so he turned to virtual Zoom meetups. The Hattiloo hosted

developed an audience for that taste,” says Bandele. “The novelty, at some point,

several online panel discussions and workshops which would turn out to be well-at-

is going to wear off. That was my thinking. People are gonna be curious about it

tended, sometimes more than 100 people per session. For instance, the Say It Loud

and interested in it but after they sample it and come to a show, they’ll go back to

program was a free Black History Speech Series in which local actors delivered

what they know.”

important historical speeches by individuals such as John Lewis, Dick Gregory, and

Yet, he persevered, and in 2006, Hattiloo Theatre opened its doors in the Edge

Marcus Garvey. Another successful project was the Women of Color Monologues

District with Bandele at the helm as CEO. The venue was named for his two daugh-

which consisted of six videos highlighting women from the community, sharing

ters, Hatshepsut (Hatti) and Oluremi (Loo). The first play was a production of

their personal stories on race, identity, and the female experience. In March, the

Samm-Art Williams’s “Home” and Bandele feverishly worked the entire operation

theatre reopened its doors to live performances with updated safety strategies in

from usher to ticket taker to emcee. Two years later, a donation from the United Way

place. Aside from the usual mask wearing and social distancing, all of the shows

was the turning point that allowed Bandele to feel the theatre was going to succeed.

are one-person plays and audience members are seated in pods with people they

The Hattiloo received $20,000, their largest one-time donation since opening, for

have quarantined with.

a youth program called Camp Awareness.

Fourteen years later and the Hattiloo has managed to not only succeed but grow

Bandele is always looking for ways to expand Hattiloo’s audience and his youth and outreach programs are a large part of that. The theatre runs 8-12 different com-

53

munity programs at any given time. By breaking down certain barriers, Bandele has widened the reach of theatregoers. In addition to kids-only theatre camps, they hold free, family-friendly plays at local libraries. They’ve also partnered with an organization called Deaf Connect which provides signers on stage. Another project, Special Shows for Special People, was inspired by Bandele’s youngest daughter who has special needs. Each performance keeps sensory stimulation in mind by adjusting house lighting, sound, and ensuring ample space for wheelchairs.

Another avenue Bandele is passionate about is inviting out-of-town artists to work and learn at the Hattiloo. The theatre’s residential space, a triplex called the HattiHouse, is used for guest artists and fellows. After attending training at the DeVos Institute of Art Management in Washington DC, Bandele decided to start a Black Managers Fellowship. It was an experience that completely changed how he managed Hattiloo and he wanted to share that with other individuals who were currently working in Black theatres across the United States. Each of his fellows get paid a stipend and the opportunity to spend eight weeks immersed in case studies, workshops, guest speakers, and assigned readings.

“I had to look through a cultural lens to make my learning more relevant to what I was doing. So, I’ve taken those experiences and that knowledge, and we impart it to four Black theatre managers every three years,” says Bandele. “This whole program is funded by the Black Seed Fund. Hopefully, the results will be such that foundations may look at it and say this is actually strengthening the Black theatre landscape nationally and we want to help continue that.”

The Hattiloo Theatre’s presence also stretches beyond Memphis. Before international travel restrictions, Bandele went to Milan twice a year to produce plays under the auspices of the Italian Ministry of Foreign Affairs. He’s even taught a Theatre Management class in Khartoum, Sudan. But, while bringing the Hattiloo and Southern culture across borders is exciting, Bandele’s sights remain fixed on what’s most important closest to home. He’s dedicated to training more Black actors, playwrights, and stage managers. The future of Black theatre relies on solid infrastructures, well-paid and well-trained management and artists having the platforms to speak their truths. For Bandele, his theatre strives to be a space where all of that can happen. Just as he came to the stories written and shared by people long gone, the Hattiloo offers up the chance for the next generation to find their voice and create their own.

“We all end up stories. While we tell stories on stage, they come from somewhere, they represent someone. Even if we think it’s completely made up that story has some form of life or background.” says Bandele. hattiloo.org

Above: Ruined is a play by Lynn Nottage. The play won the 2009 Pulitzer Prize for Drama and centers around the plight of women in the civil war-torn Democratic Republic of Congo. Center: The cast of the popular musical The Wiz. Bottom: Blueprints to Freedom: An Ode to Bayard Rustin, one of the most prominent leaders of the Civil Rights Movement. Opposite: Ekundayo Bandele opened the doors to the Hattiloo Theatre in the Edge District of Memphis in 2006.

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“ I’M A PERSON WHO LOVES LANGUAGE. I LOVE CONVERSATION. AND THERE’S JUST SOMETHING ABOUT CREATING A RELATIONSHIP BETWEEN INDIVIDUALS BASED ON CIRCUMSTANCE AND CONVERSATION.

“

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Sean of the

South Stories by Sean Dietrich / Photography courtesy Sean & Jamie Dietrich

If you’re looking for someone who tells heartfelt, and often humorous, stories about life in our South no one does it better than Sean Dietrich. They pull at the heart strings of emotions–you’ll cry, you’ll laugh, and you will know those people or the places he is writing about. You probably know him as Sean of the South.

As his regular readers know, Dietrich’s childhood was thrown into tragedy when his father killed himself. He was just 12 years old.

Tragic and heartbreaking, it left Sean with a need to turn his thoughts into words.

Dietrich wanted to be a writer for as long as he can remember. “As a child, I liked to write. I filled up notebooks with tales of the high-seas, shameless vixens, and steamy scenarios combining both of the aforementioned. My fifth-grade teacher found one of my notebooks and scanned through it. She told me I wrote with too many commas and encouraged me to pursue a career in construction work. Years later, I learned my teacher had left the school. She took a job at the Piggly Wiggly as a cashier. I went to visit the old girl, to show her the man I’d grown into. After visiting for a few minutes, I realized something I’d never noticed before. Beneath her hard-shell exterior was a regular lady, working from nine to five for pennies. She was doing the best she could with her life. Just like me. Before I left, she asked me what kind of work I did. At the time, I worked in construction.”

Today, Dietrich is a sought-after speaker with seven books under his belt. He and his beloved wife, Jamie, travel the Southeast for his shows which combine his storytelling along with his love of music. Dietrich ability to tap into the endless stream of sights and people along the road is truly inspiring. He never meets a stranger. The everyday people from church dinners, restaurants, nursing homes, gas stations, and even his shows, are his people. The South is his home and he loves sharing it. You’ll laugh. You’ll cry. You’ll want more.

Follow his blog or pod casts @ SeanoftheSouth.com

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“I HAVE TWO DATES ACCOMPANYING ME TONIGHT. MY MOTHER-IN-LAW—WHO HOLDS MY ARM FOR BALANCE. I’M CARRYING HER PURSE. AND MY WIFE— WHO WALKS TEN STEPS AHEAD OF US AT ALL TIMES.”

My Girls This is a small restaurant. A meat-and-three, where waitresses wear T-shirts. Where

hanging from its branches, they know some of the same people.

your iced tea never falls below the rim of your glass. Where catfish is fried whole

“Do you know Bucky Mc-So-And-So?” asks Miss Marjorie. “His daddy ran the West-

on the bone.

ern Auto.”

I have two dates accompanying me tonight.

“Did you know Sister What’s-Her-Name?” says my mother-in-law. “She always

My mother-in-law—who holds my arm for balance. I’m carrying her purse. And my

made Coca-Cola cakes in Civic League.”

wife—who walks ten steps ahead of us at all times.

“I graduated school with her BROTHER.”

The dress code is summer weekend casual. I’m wearing jeans. My dates are wear-

“Get out! Her brother’s niece’s Sunday school teacher is my COUSIN!”

ing pearls, pumps, and ruby lipstick.

“Are you serious?”

They always do. In fact, I’ve never seen them exit the house in anything they

“Sister, if I’m lying I’m dying.”

wouldn’t want to be buried in.

“I heard her son landed in jail.”

We order a round of teas. My dates scan the menus without conversation. When our

“He’s out on parole now, living for Jesus.”

server arrives, my dates have questions.

“Bless him.”

“Is your tartar sauce made with DUKE’S?” asks my wife.

Our food arrives. My mother-in-law puts a hurting on two slabs of catfish which are

“Are there REAL ham hocks in your collards?” asks my mother-in-law. “I don’t like

roughly the size of men’s workboots. My wife’s plate is so big she has to remove

those ham-flavored packets.”

her earrings to eat.

“What’s in the potato salad?” asks my wife. “If I even LOOK at a stick of celery I

Mid-meal, my mother-in-law remarks, “I Suwannee, we forgot to say the blessing.”

start gagging…”

She asks if I’ll do the honors. I tell the ladies to join hands and bow heads.

“Are your French fries STEAK fries, or shoestring?”

Dear Lord,

“What kind of cake do you have tonight?”

Thank you for catfish, fried whole on the bone. Thank for tea, sweet enough to

“Where’d you graduate high school?”

cause temporary blindness.

“What’s your social security number?”

Thank you for mothers-in-law who hold my arm for balance. Thank you for friends

The server looks to me.

from Hartford, Alabama. For High Bluff, Bellwood, Eunola, Geneva, Chancellor,

“I’ll have a barbecue sandwich, ma’am,” I say.

and Coffee Springs. God bless Brewton.

Two more women enter the restaurant. They have white hair, and they are also

Thank you for hugs from small-town women who talk with soft drawls, and aren’t

sporting pearls. They sit behind us. They speak with accents that are soft and

afraid to tell me they love me. Watch over my mother-in-law when she has surgery

sophisticated.

next week.

As fate would have it, my two dates know them—sort of.

Thank you for my mama. For my sister. My niece. Thank you for my wife. Without

Miss Marjorie and Miss Sarah are from Hartford, Alabama. My mother-in-law is

these women I’d be nothing.

from Brewton.

Nothing.

And since South Alabama is one large family tree with lots of strings of pearls

Amen.

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“THE MAN PLAYING PIANO IS BLIND. HIS EYELIDS ARE CLOSED. HE PLAYS OLD FAVORITES. “SWEET SWEET SPIRIT,” AND “GIVE THANKS,” AND “I’LL FLY AWAY.”

Fried Chicken Dinner A church fellowship hall in Chumuckla. There’s a serious church buffet happening.

“When the shadows of this life have gone,

Kindhearted women with white hair keep the line moving with serving spoons.

“I’ll fly away…”

You can’t visit a place like this without seeing white-haired women with serving

People hum with mouthfuls of peach cobbler. Even kids who aren’t old enough to

spoons.

ride the Teacups at Disney World sing. Some folks are even brave enough to clap.

The chicken is exquisite. The fried catfish was caught in the Escambia River. Fried

You cannot visit a place like this and not clap to “I’ll Fly Away.”

okra, cornbread, biscuits, macaroni and cheese.

At the end of the night, people hug necks. They

Ham hocks—seasoned with a few butter beans.

talk about what they’ve been doing since their last

It’s my second time through the food line. The

meeting. They talk about how tall their children

white-hairs ask how we liked our food.

are. About elderly parents.

The phrase of the night is one you’ll hear all over

“We enjoyed it,” someone says.

the Great American South:

“We enjoyed it, too,” is the time-honored response.

“We enjoyed it.”

“We CERTAINLY enjoyed it,” is a common varia-

It’s the unofficial motto of Lower Alabama and the

tion of the theme.

Panhandle.

The man playing piano gets off the stool with the

My wife and I sit on folding chairs. I am wearing

help of his wife. People all pitch in to clean the

seersucker.

fellowship hall.

It’s funny how life repeats itself. As a boy, my moth-

Cleaning fellowship halls is in our DNA. Some-

er would’ve forced me into seersucker and penny

times, I visit Baptist fellowship halls in strange

loafers for a NASCAR rally. Today, I’m wearing such

cities just to help scrub casserole pans.

things of my own volition.

Kids clean tables. Mothers straighten chairs. Fa-

The room is alive with voices—talking and laughing. And, of course, there’s sing-

thers wipe children’s faces.

ing. You can’t visit a place like this without singing.

In the gravel parking lot, the goodbyes happen. A proper goodbye in this part of

The man playing piano is blind. His eyelids are closed. He plays old favorites.

the world can drag out until 11:27 P.M. You cannot visit a place like this and do

“Sweet Sweet Spirit,” and “Give Thanks,” and “I’ll Fly Away.”

short goodbyes.

His hands feel the keys for the next chords. He’s playing through the musical score

Before leaving, the piano player shakes my hand. He may be blind, but he smiles

of my childhood.

with his whole face. I can’t help but smile with him. He is a shining example of

He has a nice voice, but he isn’t trying to impress listeners. That’s not how we

the best our world has to offer. He tells me that he is thankful for all he has been

Baptists do. If you’re looking for impressive vocal gymnastics, visit the Assembly

given in life.

of God up the road.

We shake hands. “We enjoyed it,” he says.

We’re singing:

Yes, sir. We certainly enjoyed it, too.

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“IT’S WHEN KISSES TASTE LIKE SALT, WHEN YOU EXPECT YOUR DANCE PARTNER TO SWEAT THROUGH THEIR CLOTHES. IT’S WHEN YOU GO SWIMMING WITH YOUR DOGS IN THE CREEK, AND LET THE WARM WATER SWALLOW YOU.”

Summer Our air conditioner went out. And if I were to tell you that it’s hot, I would be making a gross understatement. It’s not hot. It’s sweltering—that’s what my mama calls it.

Our bedsheets feel like they’re made of industrial wool. I smell like the raw side of a mule. My wife has sweat rings under her sweat rings. Our dog looks suicidal.

I don’t know how the old-timers did it, before window-units. I remember my grandfather saying, as a boy, he’d sit beneath his house with his dogs. He’d practice guitar; they’d pant.

His mother would lower lunch through the loose floorboards—crumbled cornbread in a jar, doused with buttermilk.

“All food ought be cold during the dog days,” he’d say. “Tea, tomatoes, cucumbers, potato salad, watermelon, slaw…”

Summer food.

And then there were summer Sundays. “Church was awful,” my grandfather said. “Cramming a bunch of folks into one hot little chapel, everybody sweating. It’s enough to make you believe in Hell.”

Even so, Hell happened to be his favorite season of the year. I asked him how this could be, when only hours earlier, I’d seen two trees fighting over a dog.

He said, “We didn’t notice the heat, we just enjoyed the outdoors. Air conditioners only made everyone stay inside.”

I suppose he’s right. Before artificial air, the best place in the world was the porch. Summer was a season for cooking outside—cooking indoors would’ve melted your face off. When everyone got together for fresh tomatoes, and red-and-white checkered table cloths.

It was a time when young folks like my grandfather visited the honky tonks on the edge of town. There, he’d pay fifteen cents for all-you-can-drink hooch, sweat through his hat, and smile at girls in cheap cotton dresses.

That’s why he liked summer.

It’s a season when the world becomes overrun with possibilities. Good ones. Anything can happen. On any given night. On any dirt road. At any country dance, underneath any oak tree. In fact, something wonderful could happen right now.

It’s when kisses taste like salt, when you expect your dance partner to sweat through their clothes. It’s when you go swimming with your dogs in the creek, and let the warm water swallow you.

Right now, my shirt is drenched, my nose is dripping, and it feels hotter than the ambient temperature of Satan’s attic. I’d like to get our AC fixed, but I’m busy right now.

It’s summer.

This cornbread and sweet milk isn’t going to eat itself, you know.

Stories reproduced and printed with permission of Sean Dietrich and Jamie Dietrich.

GRAMMY WINNING BAND RANKY TANKY DRAWS ON GULLAH CULTURE WITH GOOD TIME

Quentin Baxter is on the phone from Charleston, South Carolina. The tone is relaxed and positive. No, wait, scratch that.

The tone is hilarious. Quentin and I start the conversation laughing about trivial things before settling in to a proper discussion about Ranky Tanky, the quintet that won a 2020 Grammy for Best Regional Roots album.

I comment that I needed the laughter more than I realized. “You did? Man, I needed it too. Isn’t that the best way to start a discussion?” he replies.

In the Gullah language, as Baxter tells me, Ranky Tanky means, “Get funky. Work it.” The band’s self-titled debut album won a devoted following at NPR, and found a home on the Jazz charts.

Ranky Tanky is unique in that its name and its music is influenced directly by the Gullah culture of the Sea Islands that dot the Atlantic coast from Wrightsville Beach, North Carolina to the northern coast of Florida. Africans, taken from the rice fields of West Africa were brought into the United States as slaves, many through the port of Charleston.

Once freed they formed communities on the Sea Islands. The people of the Sea Islands, their food culture, music and language are known as Gullah.

Quentin wears many hats. With Ranky Tanky Baxter provides drums and percussion with some unusual stick rhythms, rhythms found in the music of Gullah culture. And producer is a role he fills for Ranky Tanky, as well as other artists. He has taught at the college level and he has a vision of starting his own school for musicians on property his family owns.

Baxter’s story, as with so many others, begins in church.

Baxter comes from a family of drummers. His mother played drums in the Holiness church Baxter grew up in. “Playing a full kit was not possible because you have to have your legs apart to work the bass drum and cymbals. So, she played snare.” It was in this environment that Baxter began to hone his skills.

The five musicians who make up Ranky Tanky met during their college years and while playing gigs around Charleston.

“When I transferred back to the College of Charleston, I had already known fellow student Kevin Hamilton as a bass player. Clay Ross (guitar/vocals) came to the College from upstate, he’s from Anderson, South Carolina. We met Charlton Singleton (trumpet/vocals) who went to South Carolina State University after he had graduated. He was the organist at St. Patrick’s Church. That is the church where Kevin Hamilton’s mom was the cantor.”

“Charlton was also the manager of CD Superstore. Kevin and I walked into the store and I went straight to the Jazz section. I grabbed a handful of Max Roach CDs because he’s my guy. And I said, ‘I want to listen to these.’ He looked at my stack of CDs and said, ‘Are you Quentin?’ And I said ‘yeah,’ and looked at Kevin to take over the conversation because what I really wanted was to listen to the CDs.” Kevin and Clay ended up being roommates and after graduating the four started a band called The Gradual Lean, a Jazz quartet. They had a steady Tuesday night gig at a local restaurant. As Baxter tells it, “Our playlist was so eclectic, anything from Duke Ellington to Rick James and everything in between. We wanted to play music that people really enjoyed. We would swing as hard as we could because we really just wanted to play music.”

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Good time Written by Joseph McSpadden / Photography by Peter Frank Edwards

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“ CLAY BEGAN TO LEARN ABOUT THE MUSIC OF THE SEA ISLANDS. SO, HE APPROACHED US ABOUT PUTTING A BAND TOGETHER BECAUSE THIS WAS AN IDEA THAT HE WANTED TO EXPLORE. HE WANTED TO LEARN MORE. SOMETIMES WHEN YOU LEAVE, YOU START TO PAY ATTENTION TO WHAT YOU LEFT BEHIND.

“

“During this time Charlton and I became roommates. There was a coffee shop

besides holding down some touring.”

on King Street called Clara’s Café and every Sunday afternoon I would host jam

“We all had our careers. Ranky Tanky wasn’t a thing where we said we were going

sessions. This is how we developed our rapport. I met Quiana Parler (lead vocals)

to drop our careers and do this thing. After we said we were going to do five shows

when she was between nine and eleven-years-old. She was scatting and singing

it turned into several more shows. The rest is history.” The members still have

some Sarah Vaughn solos, Ella Fitzgerald… I believe she was closer to nine, at that

other projects and tours they are a part of, but they have all found ways to prioritize

time. I met Quiana during the Spoleto Festival. She came back to perform with us

Ranky Tanky.

when she was sixteen, a show we played called Serenade. She was singing Whitney

Ranky Tanky released their self-titled debut in 2017. “It was basically an album

Houston at the time and she was one of the star vocalists of the show. That is

of Gullah standards,” Baxter says. The album was well-received. Good Time, the

basically how we all met.”

second album garnered high praise from NPR, Paste Magazine, and Billboard, as

Sometime after they had formed The Gradual Lean, Clay Ross decided he wanted to try his hand in New York. The rest of the gang gave their blessing and wished

well as reaching the #1 Jazz album spot on Billboard, Amazon, and iTunes. And then came a 2020 Grammy win.

him the best. In New York Clay played with a number of bands with a wide musical

The album is a collection of spirituals, folk songs and jazz numbers with a loose

palette and began to learn about another type of music, one closer to his South

playful feel. It feels fresh and yet familiar at the same time, a bit like reconnecting

Carolina roots.

with an old friend. The band is very much a true collaboration; each member gets

“He came in the know about the very music that Charlton and I would branch off and play every now and again. Clay began to learn about the music of the Sea

a chance to shine but no one individual dominates the proceedings. Songwriting credits are shared among the band members.

Islands. So, he approached us about putting a band together because this was an

The title track of Good Time also spawned a music video. Filmed in Charleston

idea that he wanted to explore. He wanted to learn more. Sometimes when you

and directed by local artist Kevin Harrison, its large cast features a host of local

leave you start to pay attention to what you left behind.”

characters, including radio personality Osei Chandler and Charleston Mayor John

Clay told the gang that he had learned some new tunes. When he started to play

Tecklenberg. Beautifully filmed and expertly edited, it tells the story of a club owner

them, Quentin said, “We don’t play those tunes that way.” Quentin explains, “We

facing eviction. The last event on her calendar is an appearance by Ranky Tanky. In

applauded the research he was doing but we showed him this is how the song goes,

short, the gig sells out, the band delivers, and the club is saved. It’s a helluva lot of

this is how we play it. But he did a lot of research. He followed this path about

fun and features some great dancing, along with a stellar performance by the band.

wanting to learn more about the music and the contributions of the Sea Islands.”

You can find it on YouTube.

The group played a gig as a quartet, with Clay and Charlton singing. They were good but Baxter knew that what they needed was a vocalist. He approached Quiana

Good Time: youtu.be/u5j78_P4xnU?list=RDu5j78_P4xnU

and she said yes, in part because they were only planning to do a few gigs. She

Shoo Lie Loo: youtu.be/FYodHa4wYlY

already had a wedding band. “She literally was the first call for weddings in the area

rankytanky.com

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Taking the Good Road The Good Road TV show travels south seeking what is hidden in plain sight Written by Joseph McSpadden / Photography courtesy The Good Road & Andy Duensing

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67

Who gets to write “the history of the South?

FOR THAT MATTER, WHO GETS TO WRITE OUR PERSONAL HISTORIES? IF MY PERSONAL HISTORY IS WRITTEN FROM MY COLLECTED MEMORIES, ALONG WITH INPUT FROM FAMILY AND FRIENDS, THEN I HAVE A STORY COLORED FAVORABLY BY MY PERCEPTION OF EVENTS.

“

My motives are rarely called into question and I have a story I feel good

a neighborhood in Alabama that most of society has written off.

about. Of course, I get to choose what is left out of that history.

What if the history of something larger, like the South, is made up of all our

Changing the Narrative For the past year the city of Richmond has been

collective memories? Who chooses the stories that are told? Who records

wrestling with the legacy of Monument Avenue. The scenic drive through

the history of marginalized people?

the center of the city, with its expensive homes, is one long sculpture installation commemorating the “heroes” of the Confederacy. One by one

Taking the Good Road Craig Martin and Earl Bridges, best friends, produc-

these statues have been removed. Only one remains. As of this writing

ers, and co-hosts of the PBS show The Good Road head south for season

Robert E. Lee still sits astride his horse some sixty feet above the ground.

two. While season one of the hit show was racking up viewers by the thou-

The decision to remove Lee from his prominent plinth is still, much like

sands Craig and Earl were facing tough decisions for the second season.

the statue itself, in the air pending the result of a civil lawsuit. In the past

Covid travel restrictions limited their ability to film all the international

year it has become a place for people to express their feelings about race

episodes they had planned, so the two turned south to tell stories about

relations, through graffiti and art, and storytelling.

the people they call “do-gooders.”

But new stories are rising in the city of Richmond. On a warm August

Craig, of Richmond, and Earl, of Charleston, settled on doing at least four

morning Craig and Earl take a trip to speak with Valerie Cassel Oliver, Cu-

episodes in the South, two each in their respective cities. What they found

rator of Modern and Contemporary Art at the Virginia Museum of Fine Arts.

were the unlikely heroes among us, those working to make their communi-

Cassel Oliver offers context on Monument Avenue and the new statue on

ties better. Previously, season one of the international travel show included

display in Richmond.

an episode in Alabama featured in okra., issue 11.

“Monument Avenue has long been a gravitational pull for the city. And

The Good Road is an Anthony Bourdain-style travel show focused on

to have a sculpture that is, in many ways, in conversation or dialogue with

philanthropy and good works. Where Bourdain focused on food and the

Monument Avenue is appropriate for our times, but it is also appropriate

culture and communities that produced it, The Good Road focuses on

for the museum, to begin shifting that gravitational pull,” Cassell Oliver

the messy business of philanthropy and those working on the frontlines to

says.

meet the needs of others, whether it be in a field hospital in Uganda or in

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SUMMER 2021

“But it’s not without controversy,” Bridges observes.

The three are walking on the grounds of the museum to the newest monu-

being icons.” On that trip in 2016 the artist took a tour of Monument

ment in Richmond, Kehinde Wiley’s Rumors of War. The statue portrays a

Avenue and was “blown away” by the statues that line the center of town.

young modern-day African American male astride a horse. It is a portrait of

“To see not only these men on horseback, but these Confederate memo-

power in a city where symbols of Black life have often been obscured, or in

rials…they are 20 feet in the air. In the case of Lee, 60 feet in the air.

some instances, paved over.

These are grand statements. That seed was planted to do this sculpture back in 2016,” Cassell Oliver explains. “It was inspired by Richmond, and

A Monumental Response Cassell Oliver continues, “If you have a dominant

it belongs in Richmond.”

narrative, you might want to shake that up. Artists have a unique ability to

According to Cassell Oliver, Wiley’s perspective wasn’t about removing

do that. They can do it in ways that are subtle and they can do it in ways

monuments, it was about creating more monuments in order to spark a

that are bold.” Rumors of War, Wiley’s sculpture, is particularly bold, and

dialogue. “We don’t need this binary. Monuments deserve a monumental

Above: Craig Martin and Earl Bridges, at the cafe of The Virginia Museum of Fine Art, speak with Valerie Cassell Oliver, Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts about the controversy surrounding the statues on Monument Avenue and the new statue, Rumors of War, on display in front of the museum.

was patterned after the J.E.B. Stuart monument.

response.”

In 2016 Wiley came to Richmond to the VMFA on tour with a retrospec-

“It’s a poignant piece, based on what’s going on now,” Bridges adds.

tive of his work. As an artist he had been drawn to classical works, as Cas-

“Do you feel you have a responsibility to help the rest of the community

sell Oliver describes, “These tropes of power.” He began to create within

understand this point in time, or…what we could be?”

that framework, creating classic pieces that featured African American

“This museum is the people’s museum. Our role is to be reflective of

bodies. His initial inspiration was a mug shot of a young African American

the community. History is constantly unfolding. And artists speak to that.

man.

Artists are citizens of this country. They are always in conversation. My job

“He thinks, instead of having ourselves represented in this manner, what if we affixed ourselves within that trope of grandeur… of iconography, of

is to bring those conversations to the museum.”

One aspect of the monument that stands out is the representation of the

69

PHOTO: Jay Huron

“

“

THE NEWEST MONUMENT IN RICHMOND IS KEHINDE WILEY’S RUMORS OF WAR. THE STATUE PORTRAYS A YOUNG MODERN-DAY AFRICAN AMERICAN MALE ASTRIDE A HORSE.

“

“

IT IS PAINFUL BUT IT INSPIRES ME. IT INSPIRED DEAN AND DAVID TO GET INVOLVED. THIS DRIVES US.

This page: Dontrese Brown, Earl Bridges and Craig Martin at the site that was formerly Lumpkin’s Jail.

Opposite Top: Craig Martin at the site of the Robert E Lee Monument.

Opposite Bottom: The Hippodrome is a reminder of the days when Jackson Ward was considered “The Harlem of the South.”

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SUMMER 2021

individual. Wiley’s depiction of the average person is striking. It speaks

also the tech world. Three men have combined their talents to bring the

in conversation with the other monuments, men of rank and privilege and

African American experience to life using Virtual Reality technology. Dean

power. Rumors of War is, at its core, about the power of the individual. It

Browell, David Waltenbaugh, and Dontrese Brown have joined their skills

endows the average citizen, especially persons of color, with honor and

and their passion to create Hidden in Plain Site: Richmond.

respect.

Browell and Waltenbaugh had been in discussions about creating a new

When we say “We the People,” do we truly mean all the people? Is the

project for the city using VR technology. Waltenbaugh was already using VR

story of the South a story of all of its people? Art, in this instance, is not

tech to help people struggling with mental health issues and depression

about enforcing a world view but rather it is about challenging one with a

(featured in okra issue 12).

conversation. In 2021, can we talk?

Browell brought his friend Dontrese Brown into

Cassell Oliver adds, “We live in a society in a

the equation. Brown had recently been success-

constant state of amnesia. There is always the

ful in getting the city to rename Boulevard, one

new, the next thing. People don’t even know

of the main arteries through the city, into Arthur

their history.”

Ashe Boulevard, to honor Richmond’s African American tennis star.

A Moment for the Human Family “When you look

They asked themselves, how do we tell other

at the Robert E. Lee monument now,” Martin

stories from the past, ones that have been lost

says, “I see it as beautiful. There are so many

or erased? The result was Hidden in Plain Site,

pieces that people have come and painted. A

an interactive educational virtual and web expe-

lot of the tags and the graffiti started very angry,

rience that brings to light the historical places

and I completely understand it. But it did evolve

in the city that have been abandoned to time.

over time.”

Ten sites were chosen as ways to illustrate what

“It has become a memorial. When you walk

Black life was like in the city of Richmond.

around you learn about the people we failed as a society,” Cassell Oliver concludes. It is her be-

Welcome to the Hippodrome Brown and Bridges

lief that creating a space to memorialize these

are standing in the balcony of The Hippodrome.

people was the catalyst that morphed the mark-

Brown is providing context on the restored the-

ings into something more peaceful.

ater. “This is everything for us, the center of

Bridges chimes in, “I feel like, in today’s soci-

Black American culture in Richmond,” he says.

ety, it is all about whose side are you on. Every-

“A lot of entertainers came here. It was a stop on

thing is binary. Which party it is, where do you

the Chitlin’ Circuit.”

identify. Art helps you contextualize a complex world.”

“Famous Black acts?” Bridges asks.

“Yeah, John Coltrane, B.B. King, Louis Arm-

“We are all united, we are all part of the hu-

strong, Miles Davis. This was the happening

man family,” Cassell Oliver replies. “Hopefully

spot. This area, Jackson Ward, was considered

we go through all the messiness to come out the

the Harlem of the South.”

other side a lot better.”

“The Jackson Ward area, this neighborhood was…”

Conflict is the stuff of history, and the victor typically gets to write that

“It was an affluent area. It was a safe area for Black Americans. It was

narrative we come to accept as history. But in the post-war South a sec-

entertainment, it was food, it was culture. The energy in this area was phe-

ond narrative emerged. In 2020 hindsight, that narrative and many oth-

nomenal. Richmonders walk by places like this without knowing the history

ers are under scrutiny as the arts and tech community unearth a broader

and the context behind them. We feel it’s imperative to tell the true story of

history, one that reflects the experiences of all people; stories that have

the Black experience in Richmond.”

been hidden for too long.

Brown continues, “We have chosen 10 sites in the city. We want to scale it here first. Then you might see Hidden in Plain Site: Jamestown.”

Tech Enters the Conversation In Richmond, new contributions to the conversation about the past not only come from the artistic community, but

The Quincy Question “So, who is Dontrese Brown?” Bridges asks. “What

73

Left: Earl Bridges and Dontrese Brown in the balcony of the Hippodrome, the center of Black American Culture for the African American community in Richmond. Center Left: Dean Browell, David Waltenbaugh, and Dontrese in the field where the slave market once stood. Bottom Right: Monument Avenue stands as a reminder of the past - most of the statues of Confederate “heroes” have been removed. Only the statue of Robert E Lee still stands.

do your kids think of you? Are you a community activist or just a guy with crazy ideas?”

A small patch of grass, bordered by a wrought iron fence is their destination. In the center of this makeshift courtyard are three small placards.

“That last one is probably right,” Brown replies, leaning on the balcony

Brown is both guide and narrator. He is on a quest to tell these stories.

railing, his face breaking into a broad grin. “My son is twelve and my

“This is the site of the old Lumpkin’s Jail. It was considered at the time

daughter is fourteen, and after the George Floyd incident happened, we

to be the Devil’s Half Acre. One of the worst places you could be in Amer-

were watching all the news, and trying to educate them about what’s going

ica was Lumpkin’s Jail. It wasn’t a jail connected to crime, it was actually

on.”

where the slaves were kept before they walked on a journey through a

“My son, Quincy, asked me ‘Why didn’t he just get up off of his neck?’

tunnel to a place where they were either hanged or sold.”

And then he asked me if I had been involved in things like this and I told

“Those were the two options?” Bridges asks.

him that of course, I had. He looked at me with these big, innocent eyes

“Yes. Most of those hanged were because of rebellion. Maybe because

and said to me, ‘You did Arthur Ashe, what are you going to do now?’ It

of something they were doing (individually) or against the system.” Brown

really motivated me. When I was sitting across from Dean and he asked me

turns left and right, scanning the area. “There’s really no major marker

‘How can I help you?’ I heard my son’s voice asking me what I was going

here, no sign that says ‘Come check this out.’ It’s a parking lot. Our major

to do now. This is part of that question.”

struggle is that our story is literally being erased.”

“I am embarrassed to tell you,” Martin says, “That in the quarter century

Walking the Hidden Road Martin and Bridges are walking with Brown on a

that I have lived in Richmond I have never been right here. People don’t

hot August day, approaching a small open area next to a parking lot behind

talk about it.”

the Amtrak station in downtown Richmond, an area known as Shockhoe

Sweat is forming on Brown’s bald head as the August sun bears down

Bottom. The area is noticeably ordinary, tucked away from the normal flow

on the three men. He turns to look at Martin and Bridges. “Of course. It’s

of foot traffic, below I-95 and about a hundred yards from a sleazy, run

an ugly history. But we want to talk about that ugly history. We want folks

down strip club.

to understand the true pain and suffering that happened here. But we

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SUMMER 2021

Brown select old photographs of Richmond to create the Hidden in Plain Site program. Center Right: The tunnel that led from Lumpkin’s Jail to the slave market and the gallows. Top Right: Craig and Earl with Dontrese

also want to talk about how it is propelling us to do wonderful things. Part

this field. It is a piece of history.”

of what Hidden in Plain Site is about is bringing attention to the painful

As they emerge from the tunnel a grassy space, the size of a football field

reality of what was, but also opening windows to the exciting things that

opens before them. It is bordered by a cement sidewalk and a series of

will be.”

light poles, the sort used in parking lots. Other than a small stone marker

“I love that you are using technology to bring it alive and not let history be erased,” Martin replies.

the place is barren of any type of memorial.

Brown continues, “I don’t know how old these trees are. I don’t know how

Brown challenges Martin and Bridges to imagine spending a few hours

old these bricks are. But I know these stones were here when a lot of these

or days in Lumpkin’s Jail, only to be marched out to a place of com-

things happened. He pauses for a moment. “The voices they’ve captured.”

merce where people came to buy other people. The challenge is put so

The trio stops by a wall of stones. They are standing in front of the auction

bluntly that its matter-of-fact delivery lands like a gut-punch. The closest

blocks. Brown concludes by saying, “It is painful but it inspires me. It

equivalent in modern times would be a cattle market. To consider that it

inspired Dean and David to get involved. This drives us.”

was mundane and routine to shop for human beings the way we shop for clothes at Target, makes the horror of it nearly impossible to process.

Resources With the efforts of Dontrese Brown, Dean Browell and David Waltenbaugh, and Craig Martin and Earl Bridges of The Good Road, hidden

Sacred Ground Brown leads Martin and Bridges to the tunnel adjacent to

stories will continue to be unearthed. The past and the future appear to

the area where they have been standing. Overhead the sound of cars and

be in good hands.

trucks moving down I-95 mixes with the songs of birds as they make their way to the next site. Brown continues.

“It is sacred ground. I walk delicately when I walk these grounds because

Hidden in Plain Site: Richmond is not only a VR experience. David Waltenbaugh ensured it is able to be experienced by all as a website tour, for those who do not have access to VR technology.

I feel the need to provide so much respect for those who… maybe some

hiddeninplainsite.org/home/about-hips

remains are still buried here. Maybe the echoes of my ancestors are still in

For more on The Good Road visit: goodroad.tv/

75

CHAPTER 4

SOUTHERN SNAPSHOTS

Photo submitted by Miranda Sutphen, back road in Liberty County, GA

77

Sunflowers are a

Season

Written and Photographed by Marianne Leek Photograph by taka4332

“ “

SUMMER’S END’S AROUND THE BEND JUST FLYING. THE SWIMMING SUITS ARE ON THE LINE JUST DRYING… from the song “Summer’s End” By John Prine

I am in love with summer, specifically, summertime in the South. Most

mom would provide sliced tomatoes, potato salad, coleslaw, and pound

people prefer spring to the harsh humidity and steamy afternoon rain-

cake. In July the poundcake was inevitably garnished with strawberries,

storms that accompany the sticky season, and many have attempted to

blueberries, and whipped cream. The adults would sit and talk, while the

sway my opinion making a fairly convincing case for the season of rebirth

third generation of toddling grandchildren, the cousins, played in brightly

and resurrection, a season alive with a palette of pastels and a savior’s re-

colored plastic swimming pools until they grew weary.

deeming grace. My counterargument is that sum-

As they began to grow, the cousins moved their

mer is the manifestation of that divine promise, a

adventures to a Crayola-colored treehouse and

season of eternal sunshine.

spent evenings swinging on a tire swing that hung

For the past thirty years or so, many of my sum-

from the old oak tree at the center of the pasture as

mer afternoons have been spent at the homestead

the Carolina blue sky slowly turned a cotton candy

of my mother and father-in-law who live in the

pink, the sun slipping quietly behind the ridgeline.

heart of Appalachia in the Blue Ridge Mountains

And as the fireflies began to twinkle, young ones

of western North Carolina. While summertime in

carried mason jars to capture these tiny beams of

the South means sweet tea and tomatoes, garden-

light, while the tiniest of the family fell asleep in

ing and canning, little league and summer camp,

the laps of their older cousins.

rope swings and swimming holes, what always

Much has changed. The paint is chipping on the

seems to signify the impending end of the summer

Crayola-colored treehouse and the old tire swing

season is the blooming of Grandmom’s sunflowers.

has been cut down, but the giant oak tree at the

Their Fibonacci pattern, a pattern found abundantly in nature but most

center of the pasture remains. The children are aging, some have retired,

dramatically on display in the center of a sunflower, has always been to

most of the grandchildren have moved away to go to college or start jobs in

me, proof enough of God’s existence.

Asheville or Atlanta. Family gatherings are largely reserved for the trifecta

I don’t know where she got the first seeds she planted. I suspect it

of holidays - Thanksgiving, Christmas, and Easter.

was probably where she gets her tomato plants each year - at the annual customer appreciation day at our small town’s local community bank. I do know that every year since she has taken the heads of those sunflowers, dried them out, and harvested those seeds to plant the following season.

“Well, you never know how far from home you’re feeling, until you watch the shadows cross the ceiling…”

There is something infinitely hopeful in the act of harvesting seeds to replant the following year.

But from time to time a few of us still gather outside on the porch, just

For many years, when summer commenced so did an unspoken agree-

to sit a spell and talk about our day. COVID has dramatically changed the

ment that family would meet on Saturday afternoons or Sundays after

way we gather. Grandmom and Grandpop do not understand these chang-

church up at Grandmom and Grandpop’s house. The grown children

es. When we tell them we can’t come inside, Grandmom never fails to ask

would bring over the fixins’ and promise to man the grill, and Grand-

if we have the COVID while trying to persuade us to move the conversation

79

indoors, “You’re not gonna give us nothing. C’mon inside.”

This past summer - the summer of 2020 - I watched the sunflowers.

During quarantine one of the youngest grandchildren, now a teenager,

graphs hang askew on the walls of the barn, snapshots of a simpler time, accompanied by old tools, vinyl records, sports equipment, jars and cans, ice skates and sleds. Ghostly objects, now of little importance.

planted last summer’s seeds. The burgeoning stalks became fodder for our outdoor conversations where we could still visit while social distancing. We measured the passing of time, the changing political climate, and

“Come on home, Come on home. No, you don’t have to be alone. Just come on home.”

the promise of a time when they will once again be able to safely leave their home, against those growing sunflower stalks.

This year, in particular, I have measured this season of change in the

I think about what COVID has taken from them - physical touch, hugs,

blooms of Grandmom’s sunflowers. This year they were particularly beau-

human warmth - grandchildren who just months ago would have unabash-

tiful, in all their whirly, swirly, Fibonacci, goodness. And I watch the wom-

edly run up and thrown their arms around their necks, kissing their wrin-

an, now 81, who has loved me infinitely since that day over thirty years

kled, wizened cheeks. Trips up the hill hand in hand with Grandpop to see

ago when I first fell in love with her son, gather the center of those dying

his barn, listening to him while he tells his stories about his collection of

blooms and set them to dry, a beautiful promise of a new year and another

antiques, a visual ode to our family’s past. Dusty, black and white photo-

summer season.

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SUMMER 2021

lay of the Photo submitted by James Brewer, early morning fog lifting off the White River, one of the South’s great trout fisheries, near Calico Rock, AR

land

WHAT DOES THE S OUTH MEAN TO YOU?

OUR READERS SHARE PHOTOS OF THEIR SOUTH.

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SUMMER 2021

Opposite: Photo submitted by Mary Thomas Boyd, flat tire on Chief Ladiga Trail, Talladega National Forest, AL

SHOW US YOUR SOUTH

Top: Photo submitted by Ann Christ, South Holston Lake, Appalachia, Bristol, TN/VA Bottom: Photo submitted by Dave Adams, street view, New Orleans, LA

submit your photo to submissions@ okramagazine.com

85

Opposite: Photo submitted by Marsha Tennant, grandson participating in the Monarch project, Myrtle Beach, SC Top: Photo submitted by Logan Carmichael, old homeplace near Ketner’s Mill along the Sequatchie River, Whitwell, TN Left: Photo submitted by Michael Rindler, foggy morning on the Forgotton Coast, Appalachicola, FL

SHOW US YOUR SOUTH submit your photo to submissions@ okramagazine.com

87

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Bonne Terre Studio VRBO# 1067505

Jennifer Gray, Owner/Manager 337-278-2369 www.bonneterrelouisiana.com 88 okramagazine.com

SUMMER 2021

Discovery Park of America in Union City, Tenn. is a world-class interactive museum that sits on 50 acres of extensively landscaped grounds and gardens. Guests of all ages are inspired by the indoor and outdoor exhibits that cover an array of topics, including science, space, history, transportation, the military, art and more.

What will you discover when you visit?

A WORLD OF AWAITS.

discoveryparkofamerica.com | 830 Everett Blvd. Union City, TN 38261 | 731-885-5455

CHAPTER 5

A ROAD LESS

T R AV E L E D

Horseback riding on Daufuskie Island, Photograph courtesy of Haig Point

91

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wanderer

MAGICAL ESCAPE TO THE

ISLAND H H H H H H H H

DAUFUSKIE ISALND, SC Written by Kate Parnell / Photography courtesy of Haig Point

93

A ROA D L E S S T R AV E L E D

wanderer WITH NO BRIDGE TO THE MAINL AND, NO CARS, AND ONLY A FEW PAVED ROADS, DAUFUSKIE ISL AND IS STEEPED IN A SIMPLER TIME. With a population of under 400, no hotel, and no way of getting there other

times treacherous waters. The historic building was restored to its mag-

than by boat, Daufuskie Island in South Carolina is an oceanfront oasis made

nificence as you see today. Featuring four luxurious suites, each with a tie

of mostly undeveloped conservancy land.

to Haig Point’s history and beautifully themed with antique furnishings,

Preservation is a major part of the island story and a handful of year-round

the Mansion presents comfortably elegant accommodations for guests of

community events keep the island beaches pristine: an annual beach sweep

residents and members. Unwind from a busy day with a refreshing bev-

in the fall to protect the area aquatic

erage at the bar, play billiards with

life by cleaning up trash and aquatic

friends or simply relax in one of

debris along the Calibogue Sound and

the cozy gathering places.

Atlantic beaches, an oyster reef build

Horseback riding is offered year-

in the spring and protection for nest-

round at Daufuskie Trail Rides.

ing sea turtles in the summer.

Each ride ranges between one and

How about a get-away to your own

three hours with the option to ex-

private island? It sure feels that way.

plore both the coast and unique

You could spend an entire week in

history of the island. If you’re

Haig Point, the private community on

looking for a unique experience

the island, without seeing more than

on horseback they specialize in

a dozen individuals. You literally have

custom beach rides and wooded

the beach all to yourself. With almost

or historical trail rides. Trail rides

four miles of white sandy beach to en-

are tailored to meet an individual’s

joy, you can watch the sunrise, let the

particular skill level and comfort

kids and dogs run free, and ride bikes

with groups limited to no more

along the shoreline.

than five riders per party.

Stay in an historic lighthouse dating

Golf aficionados will enjoy the

from 1873. The cozy accommodation sleeps four and is located right on the

rare experience of seven tee boxes or greens with ocean views at Haig

shore inside the community of Haig Point. In addition to the 40-foot tower,

Point’s signature course.

a luxurious fireplace and clawfoot bathtub, the 1873 Lighthouse features a

Just want to spend the day? Tour Daufuskie makes a day at the beach

rocking chair-lined porch with unmatched views of the ever-blue Calibogue

hassle free since the only way to get to the island is by ferry. Packages

Sound. Waves gently crash outside the lighthouse’s front door and dolphins

include your chairs, tent, table and adventures for the day, so you don’t

pop their heads out of the water by the dozens. The lighthouse, which op-

have to lug around your belongings.

erated from 1873 until the 1930s, guided mariners around the shoals of Calibogue Sound.

Visitors are treated to a show of wildlife experiences that occur daily: bottlenose dolphins leaping out of the water on the shoreline; loggerhead

The Strachan Mansion at Haig Point was built in 1910 on St. Simons Island as a summer retreat. In 1986, the new developers of the community moved the mansion to Haig Point with two barges over three days in some-

turtles nesting each spring on the shore and the trotting sound of Marsh Tacky horses that date back more than 500 years to the area.

White sand beaches, ancient oaks, Spanish moss and historical land-

Above: Happy hour at the Haig Point Calibogue Club overlooking the ocean. Top left: Built in 1873, the Lighthouse was restored in the 1980s when development began at Haig Point after many years passed with no attention to the structure. Top right: The warm sand and soft, gentle breezes are calling. Relax with friends on the beach. Center top right: The Lighthouse serves as a guesthouse with two bedrooms, kitchen, dining room and porch overlooking Calibogue Sound. Center bottom right: The dining opportunities at Haig Point allow you to experience a variety of interesting menu offerings. Bottom right: The 9-hole Osprey course allows you to get in some game play without having to commit to a full 18 holes. Bottom left: The Strachan Mansion at Haig Point was built in 1910 on St. Simons Island as a summer retreat.

The new developers of the community moved the mansion to Daufuskie in 1986.

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A ROA D L E S S T R AV E L E D marks all lend a rural, “back-in-time” feel, while an eclectic arts scene keeps the spirit of the island alive and thriving. Handwritten signs for signature deviled crabs are posted on trees, the local indigo dyeing shop Daufuskie Blues and the Tabby Ruins located on the former Indigo and Cotton plantation that is now Haig Point community.

Daufuskie Island Distillery is one of only two island distilleries in the US. Completely made, from start to finish, right on the island. Additionally, not only the rum itself, but all of its ingredients, equipment, and even packaging are totally American produced and supplied. Stop by for a tour.

Unique and representative of the small island life is Iron Fish Gallery.

Award winning metal sculptor Chase Allen handcrafts sealife sculptures from his remote studio gallery. He operates on the honor system: if you like something take it, put a check in the box by the door, or just leave your phone number and the artist will call you later for payment.

The team behind island favorite, Lucy Bells, is taking over the management of the Melrose Beach Club to open Bell’s at the Beach. The restaurant will offer indoor and outdoor pool service featuring Southern seafood and casual cuisine seven days a week for lunch and dinner. Rumor has it the beloved Marshside Mama’s restaurant, known for the best sunsets on the island, will reopen later this spring as Daufuskie’s restaurant and general store.

Gullah history is apparent across the ten square mile island. “Gullah” refers to descendants of Africans who were enslaved on the rice, indigo and Sea Island cotton plantations of the lower Atlantic coast. After emancipation and the Civil War, the Gullah of Daufuskie Island were able to live an isolated life creating a unique culture with deep African retentions. They have distinct arts, crafts, food, music and language.

The two room Mary Fields School, built for the island’s black children in the early 1930s, where beloved author Pat Conroy taught, is open for a visit. The school was immortalized by Pat Conroy in his book, The Water is Wide and was recently renovated. It is now uavailable for church and civic activities.

Worship or just visit the First Union African Baptist church built in 1884.

It has stood as a center of worship and faith on the island, with only one significant break in services since that time. Sunday services are open to all who come to worship.

See and enjoy a Gullah Tour on Daufuskie through the eyes and memories of a sixth generation Gullah native, Sallie Ann Robinson, one of Pat Conroy‘s students when he taught on Daufuskie Island, and is considered the Gullah Diva. Robinson runs history tours on the island through Daufuskie Island Gullah Heritage Society.

There is much to do and see on Daufuskie Island. Of course, you can also just choose to relax on the beach. Remember, you’ll pretty much have it all to yourself.

haigpoint.com

daufuskieisland.com

Top: Friends Leanne Coulter and Rhonda Davis create hand-dyed textiles made with organic indigo and other colors harvested from nature, inspired by ancient cultures. Center: Marsh Tacky Horses have been on the island for over 500 years. Bottom: Award winning sculptor Chase Adams operates Iron Fish Ar.t Opposite: Horseback rides are a great way to spend the day. Custom rides are available for all levels of experience.

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SEE:

Daufuskie Island Museum 843-384-6363 daufuskiemuseum.org Rob Kennedy Historical Trail 843-384-6363 daufuskiemuseum.org/rob-kennedy-trail.html Dafuskie Island Gullah Heritage Tours w/ Sallie Ann Robinson 843-686-2227 daufuskieislandgullahheritagesociety.org/tours

EAT:

Lucy Bell’s 843-341-6477 https://www.facebook.com/ groups/1807707262825980/ Haig Point Clubhouse 843-341-8152 haigpoint.com/lifestyle/amenities School Grounds Coffee 919-610-8808 schoolgroundscoffee.business. site Daufuskie Crab Co. (843) 785-6652 daufuskiedifference.com/pages/ restaurant

SHOP:

Iron Fish Gallery & Studio 843-842-9448 ironfishart.com Daufuskie Blues 843.707.2664 daufuskieblues.com Daufuskie Peach 843-247-1772 daufuskiepeach.com/home/ Silver Dew Pottery 843-842-6419 hiltonheadisland.org/see-do/ shopping/silver-dew-pottery

STAY:

The Strachan Mansion Haig Point 1-800-686-3441 haigpoint.com/island/mansion-lighthouse The 1873 Lighthouse Haig Point 1-800-686-3441 haigpoint.com/island/mansion-lighthouse Daufuskie Rental Group Island house rentals 404-414-1282 vacationdaufuskiesc.com

DO:

The Daufuskie Island Rum Company 843.342.4786 daufuskierum.com Wild Daufuskie Island Eco-Tour 843-842-9449 tourdaufuskie.com/tour/wild-daufuskie-island-eco-tour/ Daufuskie Horseback Riding 843-384-4510 daufuskietrailrides.com Bloody Point Lighthouse Museum 843-384-4510 hiltonheadisland.org/see-do/shopping/bloody-point-lighthouse-museum-daufuskie-island

“ EXPL ORE BOTH THE COAST AND HISTORY OF THE ISL AND ON HORSEB ACK WITH A UNIQUE CUSTOM BEACH RIDE OR HISTORICAL TRAIL RIDE.

“

RE WE WENT ” E H “W DEAN’S CAKE HOUSE

:

ANDALUSIA, AL

Photography by Gary John Isaacson

HOME OF THE FAMOUS SEVEN-LAYER CAKE: You won’t find this place in a fancy renovated building in some historic tourist-driven downtown.

Dean’s Cake House is in an unassuming building, just off the beaten path, in a small south Alabama town. In rural Andalusia, it’s just a local bakery.

Dean Jacobs started her bakery in 1994 at age 60. And it’s a treat to visit this bakery. Behind the scenes some 18 or so ladies are baking and icing cakes – no assembly line machinery at work here. That may not seem particularly special to you until you realize these ladies are mostly grandmothers and great-grandmothers. Some of Ms. Dean’s “girls”, as she calls them, have been working here since she sold her grocery store stock and started her own bakery. Dean’s claim to fame is her famous seven-layer cake. They bake more than 400 of them in a day. But you’ll also find two-layer cakes, brownies, pies, cookies and fudge. Locals flock here but over half of her customers are from out of state. The biggest compliment she gets is when someone tells her it “smells like my grandmother’s kitchen.” People try to tell her she should use machinery and make more in a day. But Dean Jacobs believes she is paying respect to Southern grandmothers by doing things the old-fashioned way. And that’s just the way her customer’s like it. If you can’t make it to Andalusia to visit Dean’s Cake House you can find her cakes at select stores throughout the southeast. The bakery is open Monday thru Saturday, 402 Snowden Dr, Andalusia, AL, (334) 222-0459 deanscakehouse.com

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NEARLY A CENTURY OF PRODUCING SWEET MEMORIES FROM OUR

peach orchards over 50 wineries & tasting rooms | Hill Country cuisine | unique places to stay | German heritage | award-winning shopping live Texas music | parks, golf & outdoor adventure | museums & historic sites | art galleries | peaches & wildflowers

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MAY 2021 – MAY 2022