Piney Woods Live May 2013

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may 2013

STARS

EDITION REO PALM ISLE

STARS OF EAST TEXAS

SALLY MARTIN LOCAL ARTIST SALLY MARTIN

TO HOLD LAST PUBLIC SHOW

THE LIGHT OF DR. NEON BINDLER ON BROADWAY ...and more!

RAY PRICE - FOREST WHITAKER SANDY DUNCAN - T-BONE WALKER - SISSY SPACEK

7HETHER YOU RE CONSIDERING HAVING A SIDERING HAVING A BABY OR ARE ALREADY PREGNANT LET THE STAFF PREGNANT LET THE STAFF OF 'OOD 3HEPHERD 7OMEN S AND #HILDREN S 3ERVICES OMEN S AND #HILDREN S 3ERVICES CES HELP YOU GET READY AND SET FOR BABY 7E ARE OFFERING AN EVENING OF FUN D SET FOR BABY 7E ARE OFFERING AN EVENING OF FUN

ENTERTAINMENT AND OPPORTUNITIES TO CONNECT WITH OTHER EXPECTANT MOTHERS AND THOSE CONSIDERING PREGNANCY The caring professionals at Good Shepherd are here to help you every step along the way from prenatal fitness to what to expect once you arrive in the delivery room. Attendees will have a chance to win fabulous new-mom door prizes and can also pre-register for delivery at Good Shepherd.

Thursday, May 30

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n &EATURING THE LATEST TRENDS IN MATERNITY WEAR AND BABY GADGETS n Good Shepherd Institute for Healthy Living s 3133 Good Shepherd Way, Longview

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“Artt is de “A defined as a produ ductt of deliibe b ra atelyy arrangin ng ele emen nts in n a wa ay th t at ap ppea als to th he se ensess orr emottions. Pineyy Woodss Live e is an exxpresssi s on of th he comm mmun nityy it se ervess.”

STARS S TARS O OF F EAST TEXAS EAST TEX XAS

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The Faces The Fa aces off Piney Pi Wood Woods ds Li LLive ve v e

by Dawn-Renée Rice

10 The Th he Reo Reo P Palm alm Isle by Tony McCullough

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Sally Sally yM Ma Martin, art r in, last public show w

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The Li The LLight gh g ht of of D Dr. r. Neon

by Dawn-Renée Rice

by Jan Statman

feature STARS OF EAST TEXAS

by Gary Borders

Join us as we pay tribute to some of the most prominent names tied to the Piney Woods of East Texas, including Ray Price, Forest Whitaker, Sandy Duncan, T-Bone Walker, and Sissy Spacek.

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Spring iin Spring n th tthe he gardens of Roseville Ros sevil ev lle e

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Bind Bindler dle er on on Broadway

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Th The he Culinary Culina na ary r Arts

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Art in Art i tthe he H Home om me

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by Jan Statman

by Jan Statman

by Jan Statman

by Jan Statman

STAFF Publishers / Editors Tracy Magness & Gary Krell Publ Pu blic icis ists ts Andrea Johnson & Ben Valencia Adve vert rtiisiing Di Dire rect c or Suzanne Warren Cont nttri rib buting Wri rite t rs

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Gary Borders, Jan Statman, Tony McCullough,

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Arti Ar tist Pro ofile les les Arti tist st’s W st World ld by Jan Statman

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Centter Sta age C Cui u si sine

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A Ta aste e of Win ine e

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T e “B Th “ ” Si S de off Mu Musi sicc si

by Claudia Lowery

by Danielle Dupont Clower

by Randy Brown

Sign up for our newsleettter by going to our website: Piney yWoo ods sLive e.co om www.face ebook.com/Piney yWoodsLiv ve © 2013 by Piney Woods Live. All rights reserved. This publication, its associated website and their content is copyright of Piney Woods Live. Any reproduction of part or all of the contents in any form without the expressed written consent of the publisher is prohibited.

PineyWoodsLLive.ccom

Dawn-Renée Rice, Randy Brown, Claudia Lowery, Danielle Dupont Clower G ap Gr aphi h c Arti hi Artists s Jeremiah Shepherd, Joni Guess, Tracy Krell, Ben Valencia, Andrea Johnson Sale Sa les s Ben Valencia, Andrea Johnson,Carolee Chandler, April Harlow, Kathy Hollan, Cookie Bias, Suzanne Warren, Evie Gee, Lori Martin

How to reach us : 903-758-6900 or 800-333-3082 info@pineywoodslive.com Fax 903-758-8181 100 W. Hawkins Pkwy., Suite C. Longview, Texas 75605

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NOTE Gary Krell Co-Publisher

Recently, a couple of friends and I made a day ttrip to Dallas. The occasion was a reception for p participating artists in an exhibition, The Southwest B Black Fine Art Show, at the African American Art M Museum. It included more than thirty black artists ffrom all over the U.S., including luminaries such as F Frank Frazier and Robert Carter. In this select group, aand the reason for our trip, was another friend, Marshall artist Percy Hall, who had six paintings selected for showing. The work of each artist was grouped on one or more wall panels, and many of the artists were present. The arrangement made it quite easy, even for an art novice like me, to get a feel for the scope of an artist’s work, and to ask questions of the artists. It proved to be very enjoyable, and we spent two hours there, twice as long as we had planned. Unfortunately, by the time you read this, the exhibit will have closed, as it was scheduled to run for only three days. The good news is that it is an annual event and will be back in 2014. Watch for it. The African American Museum is the only museum in the Southwestern United States devoted to the preservation and display of African American artistic, cultural and historical materials. It is housed in a beautiful facility, at an easy access location, Fair Park, and is well worth a peek on your next trip to the big city.

Longview has lost another art and music venue with the recent closure of Bella Mia Gallery on Methvin Street. Owner Darlene Rouse Percy Hall opened the business in 2011 and in addition to its art offerings, it became the home of the Live Music Fine Art concert series. Their most recent offering was Melissa Greener and Kate Klim in March. The concert series will continue uninterrupted with an upcoming performance May 4 by a pair of singer/songwriters, Meg Hutchinson and Mark Erelli, at the Church at Lake Cherokee.

I have a challenge for our readers. This month’s Piney Woods Live Magazine feature is “Stars!� in which we profile six natives of the Piney Woods who have launched successful careers in the arts: Ray Price, Forest Whitaker, Sandy Duncan, T-Bone Walker, Sissy Spacek, S.R. Bindler. There are many more such stories, some well known and others not so much. Here is the challenge: Who are the stars of the future that are still growing and working in the Piney Woods? Whether they are in high school, college, or pursuing their art while holding down a day job, based on the past, we know that there are probably more than a few. Who do you think they are? Go to our Facebook page and let us know what you think. As always, we want to hear your thoughts, concerns, complaints and suggestions about the magazine and art topics in general. You can comment on individual stories at pineywoodslive.com or at Facebook.com/pineywoodslive. Email us at publisher@pineywoodslive.com, or just give us a call at 903-758-6900.

contacts: Winery & Restaurant info@enochstomp.com

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SUMMER 2013 June 3-7 Fairy Tale Fantasy Ann Werline, Instructor 10-noon Ages 6-13 - $50

July 1-3 Art The Nevelson Way Amy Brown, Instructor 10:30-noon Ages 8-13 - $50

June 3-7 Plaster Wrap Mask Amy Brown, Instructor 1-3 pm 13-Adult - $50

July 8-12 Paper Mache Animal Masks Jessica Riggs, Instructor 10-noon Ages 11-14 - $50

June 10-13 (Mon-Thurs) Intro to the Potter’s Wheel Jeff Hull, Instructor 9:30-11:30 am; 1-3 pm or 6:30-8:30 pm Ages 14-Adult (maximum 8) - $100

July 15-19 Fused Miniature Quilts Nneka Gamble, Instructor 1:30-3 pm Ages 8-13 - $65

June 10-14 Mosaics CeCe Bode, Instructor 10:30-noon Ages 6-13 - $85

July 16-19 (Tues-Fri) Paint Till You Faint Ann Werline, Instructor 10:30-noon Ages 6-12 - $40

June 10-14 Fiber Portriats Nneka Gamble, Instructor 1:30-3 pm Ages 13- Adult - $65

July 22-26 Digital Photography Sheryl Phillips, Instructor 10:30-noon Ages 6-12 - $50

June 17-20 (Mon-Thurs) Intro to Clay Handbuilding Jeff Hull, Instructor 9:30-11:30 am; 1-3 pm; 6:30-8:30 pm Ages 14-Adult - $100

July 22-26 Digital Photography Sheryl Phillips, Instructor 1 – 2:30 Ages 13-Adult - $50

June 17-21 Mosaics CeCe Bode, Instructor 10:30-noon Ages 14-Adult - $85

July 29-August 2 Zen Doodle Amy Brown, Instructor 10-noon Ages 6-13 - $50

June 17-19 Bug Out Ann Werline, Instructor 1-3 pm Ages 6-10 - $35

July 29-August 2 Zen Doodle Amy Brown, Instructor 1-3 Ages 14-Adult - $50

June 20 & 21 Trucks & Trains Ann Werline, Instructor 1-3 pm Ages 6-10 - $25

August 5-8 Introduction to Glazing Bisqueware Jeff Hull, Instructor 9:30-11:30 am; 1-3 pm; or 6:30-8:30 pm Ages 14-Adult - $100

June 24-27 (Mon-Thurs) Intro to Welded Metal Sculpture Jeff Hull, Instructor 9:30-11:30 am; 1-3 pm; 6:30-8:30 pm Ages 18 and up (maximum 8) - $100

August 5-9 Dog Days Of Summer Ann Werline, Instructor 10:30-noon Ages 6-12 - $50

June 24-28 Clay Handbuilding for Kids CeCe Bode, Instructor 10:30-noon Ages 6-13 $85

August 5-9 Mini Abstract Fiber Art Nneka Gamble, Instructor 1:30-3 Ages 13-Adult - $65

June 24-28 Block Prints Amanda Tilley, Instructor 1-3 pm Ages 13-Adult - $50

Longview Museum of Fine Arts 215 E. Tyler St. • Longview, TX 75601

903.753.8103 www.LMFA.org ma ay 20 013 - page 5

Artist

PROFILES

Article submissions: Articles are accepted and reviewed by a panel. Photos

may accompany articles. Space, relevance, writing and appropriateness play a huge part in the decision making process. Individual artists are

more likely to have fewer than 100 words plus a photo published. Deadlines are the 5th of the month prior to publication.

Connie&LeighaSherman ARTIST/PAINTER

Connie Sherman’s art career started with a mural on a wall in her parents’ home when she was just a child. The mural was so good that her parents automatically assumed it was done by Connie’s older sister and punished her before finding out that Connie was responsible. Through the years, Connie continued her interest in art and later pursued a degree in fine arts from San Jacinto College in Houston. With encouragement from her instructor, she entered one of her pieces, Womanly Torture: Oven, into a contest sponsored by the University of Houston. She won first prize and a scholarship to continue her education at U of H. Since then, Connie has excelled, explored and enjoyed her life as an artist by mastering mediums such as acrylics and pastels. However, her sister still likes to remind Connie that she took the blame for that very first mural. Leigha Sherman grew up surrounded by art. With an artist mother and a writer father, she was doomed to live an artsy existence. Though she loved art and doodled all through her high school years, it never occurred to her that her hobby might be something to pursue professionally. But she received an art scholarship from Lon Morris College, which was the first time she got to explore and discover different forms of art. After graduation, she started attending classes online at the Academy of Art University. Leigha loves her school and cannot imagine attending anywhere else. Although the classes are difficult and rigorous, she holds tight to the philosophy that, “If it doesn’t challenge you, it won’t change you.” Because of the variety the Academy offers, Leigha has become skilled in digital artwork, graphics design, and fine art, using tools ranging from paints to pencils to laptops.

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c ChristineM Crary

ARTIST/PAINTE ARTIST/PAINTER ER

Christine McCrary is a 39-year-old woman living in Lindale with her three amazing kids and the love of her life, Rob Johnson. She started painting in August of last year after a trip to Seattle where she met Rob’s stepmother, who is an artist. After seeing her art and talking to her about her ideas, passions, and influences, Christine came home, bought supplies, and started painting. She was always a little artsycraftsy but had never painted nor had any lessons. Christine just started putting paint to canvas and got lost in the art. She loves trying new styles and is learning by watching videos, studying paintings by other artists and reading books. It didn’t take long before she was hooked. With a busy, chaotic schedule and what is probably adult onset ADD, it’s exciting to find something she loves so much that it can keep her captive for hours. Christine has done a few shows, has some art in the Glass Onion in Tyler, and has sold some of her paintings. She gets excited watching her skills change and grow. She doesnt have a “style” yet but maybe that’s a style of its own, the style of difference. Christine enjoys new challenges and will do commissioned work as well. Her philosophy is “give her an idea or photo and let her try.” If the customer likes the finished product, they can buy it - if not, it was a great way for Chistine to explore new ideas and test different concepts. You can find Christine’s art at www.christinemccrary.com.

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Artist's World

always cared about doing. It is the mark I make in the ledger book of life. It is my intention, my obsession, my reason, my excuse. Painting is what I am all about. A oneartist show takes all my quiet inner thoughts and slides them right out there in public to share with you. Painting is my way to say, “I love you, planet earth, all creatures great and small.” Some people say it with dancing, some say it with music, and some say it with flowers. I say it with paint. I have been pretty lucky that I get some recognition for this thing I do. There are people that care enough for my art to relate to it, own it and live with it, which is honestly quite nice. An art exhibit is a guided tour inside my As it turns out, it is a lot harder, actually. head, which may be difficult because as you It is important that each of these exhibits is may have noticed, I think in run-on sentencoutstanding in its own way, because I want es much to the dismay of editors and Engby to be able to look at myself in the bathroom lish teachers all over everywhere, but that is JANSTATMAN mirror and tell the kid from the Bronx, “It’s because I was a seven month preemie and I This is going to be a very personal col- okay. It’s good. You said something worth- have been in a bit of a hurry ever since. This umn, and it might begin to sound like a rant, while. You did it again.” difficulty is compounded by the fact that I so you can consider yourself warned. You So, here we are, investigating human am a Leo with no natal chart because the see, I have two, count ‘em, two one-artist awareness, which is really what stands be- Bronx County Courthouse burned up my shows on exhibit this month. One is Victo- hind all the whoop-de-do of all those one- birth certificate, and the only one I have is rian Memories, a collection of watercolors artist shows. And why do I continue to do the one from the hospital, which doesn’t seen at the Texas Bank and Trust Company this to myself, you may well ask? I mean, count when you want a passport. in Longview, and the other is a one-artist after all, it would be perfectly reasonable to It is difficult to do my portrait, because I exhibit of my recent acrylic paintings at The learn how to bake cookies. I can already do am really quite tall and thin, so forget about Gallery on Polk Street in Jefferson. four different kinds of lasagna. My spaghet- what you think you see. My very best at To be perfectly honest, having two one- ti sauce can make the Godfather homesick tempt at a socially acceptable façade wears a artist shows running at the same time in two for Palermo, Sicily, and my chicken soup has Mickey Mouse sweatshirt. I am what I am, different places is a rare and happy thing. cured sore throats all up and down Gregg and I eat all my spinach. You think it’s easy Yes, of course it is stressful for me as an art- county… It couldn’t hurt. to function on alpha waves while you are ist. But hey, if having one show will drain The truth is, I paint because it is impor- living on daylight savings time? all your energy, how much harder can two tant to me to paint. It is the thing I real- Art transcends language and polite socishows be? ly care about doing. It is the thing I have ety. A one-artist show is the humbling ex-

perience of standing in a room full of your unvarnished self, including your life experiences, your strengths and your hidden corners. Critics talk about art, but artists make art. You cannot “tell” a painting. Franz Kline used to say, “Art has nothing to do with giving. There is a revelation by the artist and a response by the viewer. That’s all there is to it.” I never felt the need to disagree because basically, he was right. However, it only works when the artist and the viewer are equally open-minded. Too many viewers have been educated to be timid and suspicious. They have been set adrift by what they see. They search desperately for something concrete in the art. Some artists choose the easy road and pander to the most basic tastes of the lowest common denominator among us. They sell out. They paint mushy still lifes to match mushy sofas. Others choose the “elitist” road. They announce they would rather have ten knowledgeable people view their work than a thousand visual illiterates. Me? I can’t sell out, and I can’t be happy in the elitist summer camp. I want my art to reach as many good people as are willing to open up their eyes to see it. My paintings are talking to you on a visual level. Please go see the shows. That would make me happy. There’s a good chance that it will also make you happy. Jan Statman is an award winning artist whose paintings are owned by museums in Europe and the USA. She is listed in Who’s Who in American Art and many other biographical references.

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The of Article by Dawn-RenĂŠe Rice Photos by Aundrea Guess

As a graphic designer for Piney Woods Live magazine, Joni plays an important role. She creates ads and designs page layouts so the articles fit just right, which is no easy task. If you’ve ever had the experience, then you know it can be a challenge fitting everything into a magazine. She also works closely with the publishers uploading articles to the magazine’s website and proofreading stories. Joni grew up in nearby Daingerfield and attended college after graduating from high school. Like most of us, she didn’t know what she wanted to do or what she wanted to be when she “grew up,� so she majored in business administration. “My graphic design experience began when I moved to Denton in my early 20s and was hired at Kwik Kopy as a typesetter. They used a Compugraphic system. I was given a quick training session on the commands and was pretty much left to figure it out on my own. I actually enjoyed it. “Several years later, I was hired as the administrative assistant to the vice president of merchandising for a lingerie manufacturer. One morning I arrived to find the C.E.O. of the company installing PageMaker and a little hand-held scanner on my computer. He said I was going to start making their catalogs. I loved making those catalogs! We published a new one each season of the year, and I looked forward to each one.� Joni ended up moving to Longview because her mother was diagnosed with cancer, and she wanted to be closer to her mom. Her cousin Tracy, who publishes the Thrifty Nickel, and is Piney Woods Live’s copublisher, let her come by to make copies of her resume. As they

talked, Tracy asked her if she had ever used PageMaker. “I got chill bumps. I told her about the catalogs I did on PageMaker, and she hired me on the spot as a graphic designer for Thrifty Nickel. That was September 1996. “I love my job! Since we started publishing Piney Woods Live, I love it even more! I never thought of myself as creative, much less an artist, until now. I have been known to exclaim, ‘I can’t believe I get paid to do this!’ while creating an ad or laying out an article in the magazine.� When fellow graphic designer, Jeremiah Shepherd, was hired, he encouraged Joni to be more creative and to color outside the lines when it came to designing graphics, layouts, and ads. “I like to say he set us free. When Andrea and Ben joined the team, they brought more ideas. Sometimes I feel inadequate around these young artists, but I’m learning. I look forward to becoming more confident with my designs and growing with Piney Woods Live.� Aside from the creative work she does for a living, Joni loves being outdoors and recalls that, “As a child, I went camping with my parents often. I loved exploring the rivers and woods. I would be gone for hours at a time. Amazingly, I never got lost. “These days, I tend to stay closer to home, but I still love being outdoors. I enjoy gardening. I consider a beautiful garden a work of art that can evoke thought or emotion. However, mine usually evokes the thought, ‘That would look better over there.’ Unlike art on a canvas, I can dig it up and move it! I read somewhere that when a person looks at a flower, their brain releases endorphins. That would explain why I lose myself playing in the dirt.� Whether Joni is busy creating at home in the dirt or on the job at the computer, she brings a wealth of talent and excitement to her role at Piney Woods Live. Her enthusiasm shows each day in her work and in the pages of the magazine.

“I can’t believe I get paid to do this!�

One of Joni’s favorite plants, a native of East Texas, butterfly weed.

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ma ay 20 013 - page 9

The Reo Palm Isle

by Tony McCullough

A historical look at one of the most well-known honky-tonks in East Texas.

Small cities the size of Longview seldom get a lot of national attention, but 15 years ago if you stopped a country music fan anywhere in the United States and asked that person to name all the Texas cities they knew, it would probably go something like this: “Dallas (due to the TV series), San Antonio (for the Alamo), Austin (because it’s the state capitol), El Paso (because it was always talked about in the old westerns), oh… and Longview.” Longview? Why Longview? Longview was put on the country music map all because of a large honky-tonk located on FM 1845 by the Highway 31 overpass. That’s right, Longview was famous for The Reo Palm Isle Ballroom, the honky-tonk where East Texans have gone to have a drink or a dance since 1935. The Dorsey brothers and Glenn Miller, two of the most famous orchestras in the world, played at the Reo. Elvis Presley, the “King of Rock and Roll,” played at the Reo. Bob Wills, the “King of Western Swing,” played at the Reo. Johnny Cash, Jerry Lee Lewis, Willie and Waylon, and probably a hundred other famous musicians all played the Reo between the 1930s and the 1990s. It was the East Texas home for legends of the music industry. The Reo Palm Isle had a full, colorful life. The ballroom was born in 1935 and passed away 68 years later, in a passage that still brings mourning to the hearts of many who share fond memories of meeting their favorite star, dancing with their spouse for the first time, or celebrating the birthday that made them legal to have an adult beverage. With the Kilgore oil boom of the late 1920s, the population of East Texas grew quickly. The economy was booming, and the towns in East Texas were actually having major difficulties trying to accommodate all of the people flooding to the area. Tent cities became commonplace in most area towns. Many East Texans suddenly had money in their pockets, and they were looking for entertainment. Although no alcohol was officially served due to prohibition, small dance halls were popping up throughout the area in towns such as Kilgore, Longview, Henderson, and Gladewater. The most frequented of these areas was between Longview and Kilgore where Highway 31 intersects Interstate 20. It was known as Honky Tonk City, with 12 to 15 dance halls crowded into the popular area. Most were small dives about the size of a modern day convenience store. Some offered live local music and mainly on the weekends. Others would depend on the local AM radio station for music, or later a five-cent Nickelodeon record machine.

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Just down the road at the intersection of Interstate 20 and the Old Gladewater Road, Mattie’s Ballroom was thriving. Mattie Castlebury had earned an impeccable reputation for having the best dance music in the area, perhaps because she kept the ballroom hopping. There was no slow music played at Mattie’s. She would only book the best local talent and traveling bands, and her ballroom crowds had grown so much by the early 1930s that she was starting to book nationally known acts. The yellow wood framed building was usually packed. Between the best music and the popular dime a dance taxi dancers, Mattie’s was being talked about across the nation. In the early 1930s, a young man named Hugh Cooper owned a small dance hall in Henderson. Henderson had almost doubled in size since the oil boom, and his club was doing well. However, the young entrepreneur set his sights a little higher than the small town. Hugh Cooper sought out an establishment in a more populated area. He studied the number of patrons driving from Longview to visit Honky Tonk City or even further to Mattie’s Ballroom. With prohibition coming to an end, he looked for an area closer to Longview to build a dance hall that would shadow the small venues down the road, maybe even Mattie’s. Reportedly with the help of a few investors from Longview, Hugh Cooper bought land two miles outside of town and started to build at the intersection of what is now FM 1845 and Highway 31. Cooper’s club was going to be huge by local standards. It was a large-framed structure that was 80 feet wide and 200 feet long. The front of the building was brick and lined with over a dozen windows for ventilation. (Air conditioning was not common in those days, especially for a structure of this massive size.) Inside the dance hall were wooden floors, wooden walls, and a huge wooden dance floor. Near the front door on the north end of the building, there was a bar speculated to be near the length of the building all the way down the right wall. At the far end of the building a 20 by 30 foot stage was centered in the wall. To the left of the stage was a grand stone fireplace – the type you would expect to see in a large mountain lodge. This provided the only source of heat for the majority of the building. (Central heat in the 1930s meant your fireplace or stove was in the middle of the room.) When the building was finished, the new $2000 facility was prepared to hold 1800 people. It was the largest venue in East Texas. The dance hall was named the Palm Isle Club. The Palm Isle Club opened to the public on Thursday, September 12, 1935, with a promise to “feature the largest, best,

and most popular orchestras and musical organizations in the country,” and Cooper made good on his promise. Over the next few years, national talent played the Palm Isle almost weekly. Some the acts that performed there during the 1930s included Glenn Miller, Tommy Dorsey, Ozzie Nelson, Ella Fitzgerald, and Louis Armstrong. People drove for hours to Longview to dance on the huge dance floor and listen to performers, some of them now legends in American music. The Palm Isle Club was a huge success, putting many small competitors out of business in the Longview - Kilgore area, except for Mattie’s Ballroom, which still stood strong with loyal patrons. In 1939, to support its allies, the United States entered World War II and the draft started soon afterwards. As the young men of our nation were recruited by the masses to fight for their country in Europe, wives, mothers and children prayed their husbands, sons, and dads would not be next. In 1941, Hugh Cooper received his draft notice. He was going to war. What would he do with his successful ballroom? He couldn’t close it. He still owed money on the mortgage. He would have to find someone to run the club for him while he served his duty. He turned to Mattie Castlebury. Mattie had taken a little frame building in Kilgore and made it world famous for music and dancing. She knew how to run a club. She had proven to be a very sharp business person and a straightforward lady. Though his Palm Isle Club had devoured competitors, Mattie’s Ballroom stood strong. So, Cooper worked out a management agreement with Mattie. Mattie continued booking orchestras and acts in the Palm Isle Club and Mattie’s Ballroom for the two years Hugh Cooper was away. When he returned, he found larger audiences in his club than he had ever seen. Mattie approached Cooper and told him of her intent to buy the Palm Isle Club. Mattie was not easily told no. She bought the land, mineral rights, building, and equipment. She paid $5750 with $2875 down and the agreement to pay the balance off at $150 a month for two years. Mattie paid the balance in full in six months. Mattie’s Ballroom closed at the end of March in 1943. On April 3, 1943, Mattie officially took ownership of the newly named Mattie’s Palm Isle Club. Her opening night was a battle between two local orchestras. Admission was 50 cents per person, 25 cents for soldiers. Mattie went to great lengths to promote her new business venture. She continued to bring in the biggest acts in entertain-

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ment, which were usually orchestras. Mattie’s Palm Isle was open Monday through Saturday. During the week there was no cover charge for the nightly nickelodeon (jukebox) dances. Friday nights were 50 cents per person unless there was live music. Then the price doubled to one dollar. Under Mattie Castlebury’s sharp promotion, her Palm Isle Club continued to quickly grow to become an East Texas benchmark for other nightclubs. It became the place where business men went to have a cocktail and close a business deal, where men took their wives dancing for special occasions, and where couples traveled from miles away to see their favorite orchestra perform. Packed houses and great music continued over the next few years at Mattie’s Palm Isle Club. Mattie was a strong lady and ran the Palm Isle Club for two more years until her health would not allow her to continue. On May 10, 1951, Mattie sold the Palm Isle Club to Jack and Neva Starnes, who at the time were acting as agents for singer Lefty Frizzell. The new owners called the club Neva’s Palm Isle. Their investment was short-lived – they forfeited payments, and the business once again belonged to Mattie. In December of 1951, Sherman Sparks and his partner Glynn Keeling purchased the Palm Isle Club from Mattie. At the time, Sparks had owned a small club in Kilgore called the Reo Club. So, they changed the name from Mattie’s Palm Isle Club to The Reo Palm Isle. Sparks and Keeling ran the club together until 1956, when Keeling bought out his partner. Popular music was changing and so were the bands that played the Reo Palm Isle. Orchestras and big bands were being replaced by country singers such as Hank Williams – the younger generation was demanding some of the new rocking hillbilly music they were hearing on the radio and on television. Many people in East Texas can still tell stories of seeing Johnny Cash, Carl Perkins, and Elvis on stage at the Reo in the 1950s. An elderly patron of The Reo recalls the first time he saw Elvis perform there in 1956, “We didn’t know who he was then. He wasn’t anything big yet. Most of the guys who sang there wore suits. Elvis came on stage wearing chartreuse pants and a black shirt. We didn’t know what to think of him. He got a lukewarm reception that night.� The Reo Palm Isle changed with the time, and people still came to Longview to spend the weekend just to visit the club. It was a notorious local and state tourist treasure. On March 3, 1962, disaster struck the East Texas landmark. The Reo Palm Isle caught fire and burned to the ground. Some speculate it was an electrical problem that started the fire. With the club being outside city limits, inspections weren’t held to standard codes. Others said the fire was ignited by the huge fireplace and all of the interior wood. Regardless, there wasn’t much left but ashes when the fire finally died down. Glynn Keeling went to work immediately to rebuild his establishment. That building still stands today, with the exception of the new entrance that was added in the late 1990s. The new Reo Palm Isle opened in March of 1963. The Reo Rhythmaires took the stage that night to welcome a packed house to their new honky-tonk home. East Texans welcomed the reopened Reo with open arms. Gerome Mills, owner of GM Sound Studios in Gladewater, was there that night and recorded the entire evening during which the band leader apologizes for not having air conditioning yet. During one of his announcements, you can hear someone paging, “George Jones, you have a phone call.� George wasn’t performing that night. He was there for the celebration. It was business as usual for the Reo Palm Isle through the 1960s, and business was good. Keeling added a Wednesday afternoon dance that was called “Pressure Cooker Wednesday.� Former Rhythmaire drummer Johnny Mills explains the term, “It was before anyone had microwaves. The housewives could go dance for the afternoon and still get home and cook dinner in their pressure cookers before their husbands got home from

work.â€? The house band convinced Keeling to add more evenings of live dance music. The Rhythmaires would begin playing Wednesday through Sunday nights, with matinees on Wednesdays and Sundays. In 1971, Carl Johnson bought the Reo Palm Isle from Glynn Keeling. Carl had been managing country swing legend Bob Wills for several years. Carl’s son, Rusty Johnson, says, “I remember Bob Wills coming over to the house a lot when I was a kid. At that time he was already in a wheelchair.â€? Even though it was Carl Johnson’s first experience as a club owner, he immediately went after the big stars of the early 1970s like Loretta Lynn, Conway Twitty, and Ray Price. In 1975, East Texas experienced a second oil boom, bringing many more oil field related workers to our area. The Reo Palm Isle quickly became their “new home under the neon moon.â€? The concerts continued with Waylon Jennings, Johnny Paycheck, Marty Robbins, and other superstars of the 1970s. Many honky-tonk couples came to Longview from Arkansas, Louisiana, Oklahoma, and even further to spend a weekend at the Reo. Texas Monthly magazine proclaimed the Reo Palm Isle as the best dance hall in Texas. Long before he bought the Reo, Carl was a frequent patron. One night he went out to see Ray Price perform. Carl began talking with and befriending Ray Price’s guitar player. The young man had been a songwriter and musician for years and told Carl he wanted to become a solo recording act. Carl was very supportive of the young man, and the songwriter/musician never forgot that. The young man’s name was Willie Nelson. Years later, in 1995, Carl and his manager/son Rusty decided to throw a huge 60th anniversary party for the Reo. Willie Nelson contacted Carl asking to be booked for the anniversary party, with no contract needed. The Reo Palm Isle was completely sold out that night. During the 1980s, America fell in love with the movie Urban Cowboy, re-energizing the appeal of country music. The Reo’s “largest dance floor in Texasâ€? was shoulder-to-shoulder night after night with old and new two-steppers wearing their boots, Wranglers, and feather adorned cowboy hats. The renamed house band, The Reo Ramblers, cranked out Johnny Lee and Mickey Gilley songs from the movie’s soundtrack. A mechanical bull was installed to challenge the movie fans who wanted to try out the honky-tonk rodeo event. The Reo was legendary, established, and the place to see the superstars of country music. The concerts continued at least monthly, featuring up and coming stars mixed with legendary performers such as Randy Travis, Ray Price, Jerry Lee Lewis, Exile, Restless Heart, and David Allan Coe. The 1990s welcomed another surge in popularity for country music as Garth Brooks blasted onto the music scene. Boots and Wranglers were once again in style. Garth had played the Reo before his hit “Friends in Low Placesâ€? skyrocketed to the top. It seemed every artist in Nashville had their own Reo Palm Isle story. The musicians and singers in the Reo Rambler house band changed, but the Reo continued to offer live music nightly. However, times were changing in East Texas throughout the 90s. With the old-fashioned, unchanged honky-tonk dĂŠcor still exactly the same from the 1962 rebuild, East Texans began to desire something more modern and updated. Although people still filed in for the concerts, nightly business was starting to drop off despite extensive media marketing campaigns. Country music was changing, and it began to divide into two genres: classic country and young country – the latter of which had more overtones of rock than country music. What should be played at the Reo Palm Isle? If traditional music were played, the young crowd would go somewhere else. If they played all new style country, the dedicated patrons from years past would surely leave. It was a major dilemma. A local club, The Levee, was starting to be a major competitor. Although

a much smaller venue, their contests and promotions were big, offering prizes like cruises, vacations in Las Vegas, and trips to the National Finals Rodeo. This affected the Reo’s business. At the same time, area residents were actually going out to clubs less often, narrowing the number of potential patrons. When an additional club, Graham’s Central Station, part of an established national chain, opened in Longview, the bar crowd was divided into even smaller portions. The large facility of the Reo Palm Isle seemed almost empty when occupied by an average-sized bar crowd. In 1997, Max and Sharon Singleton bought The Reo Palm Isle from Rusty Johnson, who had taken possession of the club when his father Carl passed away. The Singletons had high hopes and plans to rejuvenate the 62-year-old dance hall. They continued to hire live bands, market the club, and book the best national talent the business could afford, but attendance continued to dwindle. In 2003, the doors to the former “best dance hall in Texas� were closed. The 300 square foot dance floor became empty. No more would music echo throughout the dance hall into the narrow alley behind the building where so many legendary singers had parked their buses during their night on stage. Though stories would be passed down through the generations about the experiences, good times, and celebrities seen there, there was just not enough interest from East Texans to keep the honky-tonk alive anymore. The legend of the Reo Palm Isle as it was famously known was over. Over the past few years, there have been efforts to reopen The Reo Palm Isle with little success. The location of the building, which had originally been two miles from downtown, is now within the city limits of Longview, bringing numerous city code specifications. It is now a 50-year-old building needing constant upgrading and maintenance. Rumors have abounded about the historical venue. How many times have we heard that Neal McCoy, Tim McGraw, or numerous other country stars have bought the old honky-tonk to restore it to its heyday? The Reo (no longer the Reo Palm Isle) is now owned and operated by Juan Ruiz of Tyler who bought the venue in July of 2012. It is currently open three nights per week: Thursdays for college night, Fridays for Hispanic dance music, and Saturdays for country music. The dance hall has been renovated internally, but the skeletal remains are still the same. The facelift has removed the stage from which Willie, Elvis, and so many others so proudly sang. The Reo is now a modern club trying to reclaim its place in East Texas. For those of us who grew up listening to our parents’ and grandparents’ stories of the honky-tonk, and then turned of age to create our own memories of the club, it almost brings a tear to step through the doors to see the huge dance floor but no longer hear the sounds of Johnny Gimble’s fiddle or see the flash of light reflecting off the saddle mirror ball that once greeted the customers as they entered the dancehall that was once known around the world.

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other’s Day is just around the corner, and if you are looking for a special outing that will appeal to the most discerning mom, then call Café Barron’s in Longview as soon as possible to make a reservation for the Mother’s Day Brunch on Sunday, May 12. From 11 a.m. to 2 p.m., a gourmet buffet prepared by creative chefs will make Mother’s Day even more special, but don’t wait too long, as this once-ayear event is always fully booked. Yes, it’s that good! Recently, I had lunch at Café Barron’s with my friend and Piney Woods Live publicist, Ben Valencia, and we enjoyed the food. What made the visit even more fun were the great servers that stopped by to chat, take our order, and provide me with information for my column. Our server, Alyssa Marshall, was quick and efficient, allowing the perfect amount of time for returns to our table to check on us. I had lots of questions about the food I ordered, which was the special for the day – baked tilapia with a raspberry beurre blanc sauce served on a bed of calico 9-grain rice with wheat berry. Surrounded by a beautiful bed of spring greens salad and house vinaigrette, the calico rice intrigued me. There was a lovely little crunch of toasted wheat berry that brought a nice balance to the slightly savory-saltiness of the baked tilapia – never leaning too far in any direction and flavorful in each mouthful. I shared with Ben, and he completely agreed that we’d have that again. Ben ordered the Sonoran chicken burger and said it was tender and moist. It was served on a whole wheat bun with Swiss cheese, avocado and honey chipotle mayonnaise. His side of choice was a cup of Southwest black bean and chick-

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A Taste from Near or Far with Claudia Lowery

en soup that I tasted and loved. I also sampled the tomato basil soup. Cream based and chunky, it gave me that comfort food feeling that tomato soup often conveys. The basil was harmonious and not at all overwhelming. Casual, fine dining is how manager Brandon Barron described Café Barron’s cuisine. The menu does not try to be all things to all people but instead focuses on what they do best, and so they do it very, very well, using the expertise of four chefs trained in the culinary arts. Sandwiches include open faced tuna and artichoke, chicken salad, buffalo burgers, and clubs. There are several soup and salad selections and a list of pasta dishes that include lobster ravioli, pesto chicken farfalle primavera, and South-

west linguini alfredo allow diners to have a variety to choose from. There is an extensive wine list for evenings out. Barron’s opened in Longview in 1972 as a bookstore. From there they grew and expanded to include the café. Although they still offer a selection of books, Barron’s now has grown to 15,000 square feet, over ten times its original size, to also include a women’s boutique, body & bath, home décor, and much more. In addition to this “specialty department store,” owners Jim and Julia Barron opened Café Barron’s in 1995 offering gourmet fare in a polished casual setting. This unique blend has captured the attention of The Wall Street Journal, Southern Living, and Texas Monthly. Private parties and special events are welcomed at Café Barron’s.

I love live music, and many places are now offering a band or other types of live entertainment. Today, as I ate lunch and discussed the visit with Ben, my attention was grabbed by a surprise sound coming from another section of the café. Lifting above the buzz of a busy lunch crowd a voice… a BEAUTIFUL voice… floated and carried everyone into that ethereal moment that transcends the mundane. With just one song, each note savored along with a delicious meal, a vocalist classically trained in opera gave diners a treat as her song filled our ears. Puccini’s “Chi il bel sogno” beckoned me to stop and listen… and I did. Putting Ben on conversational hold, we both paused and received the gift. It was truly the icing on the cake at Café Barron’s. When our server returned, I asked who that was. It was her, Alyssa, sharing her talent, and we were blessed. I will NEVER forget that moment when I heard her sing. Café Barron’s was an enjoyable experience, from the delicious food, ambiance, and a singing server named Alyssa, to the extra kind and friendly Wes Walker just helping me with information. You’ll do well to plan a lunch or dinner there because they want to please their guests, and they work hard to make you happy. Certainly a Mother’s Day Brunch would be a good time to try Barron’s, but if you can’t work it in, plan a lunch or supper excursion into this corner spot tucked away in Longview. You’ll go back again, just like me. Café Barron’s is located at 405 W. Loop 281 in Longview. Café Hours: Lunch - Monday thru Friday 11 a.m. - 2:30 p.m. Brunch - Saturday 11 a.m. - 2:30 p.m. Dinner - Tuesday thru Saturday 5- 9 p.m. Phone: 903-663-4737. The opinions expressed here were based on the writer’s personal experience. Please be sure to visit and form your own opinion.

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Local artist Sally Martin to hold last public show

S by Dawn-ReneĂŠ Rice

Local, long-time artist Sally Martin is holding her last public, one-person show in May with an opening reception scheduled for Thursday, May 9 from 4:00 p.m. – 6:00 p.m. at the Marshall Visual Arts Center. Her show titled Figuratively Speaking‌ and More is an art exhibition celebrating her impressive collection of colorful watercolors. During the opening reception, music will be played by Ines Lancaster. The exhibit will run from May 2 through May 22, Monday through Friday from 10:00 a.m. – 5:00 p.m. at the MVAC, where East Texans are welcome to stop by and peruse her artwork. “The main content will be figures. I’ll show some of my nude figures and other people from my travels I wanted to paint. In my younger days in the 80s and 90s, I showed in galleries in places like New Orleans, Dallas, Fort Worth, Shreveport, Jefferson and now here,â€? she explains. “Now it’s kind of bringing everything to

the home front. This show will be a retrospective of the many years I’ve been painting in watercolor since ’73-’74.� Martin has been delighting art enthusiasts for years with her amazing artwork. She’s been to over sixty countries and always finds inspiration in what she sees and experiences on those travels with her husband. Her artwork is uniquely displayed in her home, which also serves as her gallery and art studio. The upstairs portion of her house is what she calls her “museum,� and the downstairs is her gallery and studio. The upstairs rooms each have a theme and nearly every inch of the walls are covered in not only her artwork, but pieces from friends, mentors and teachers – both past and present. Her downstairs gallery is nearly the same, with paintings covering every inch of her walls, but these pieces are uniquely her own, with several that will be in her upcoming show. She has five watercolors displayed in the foyer above the staircase that were accepted into the Southwestern Watercolor Society. “You have to have five juried in to become a signature member. Several of these paintings traveled the southwestern part of the US. This is one of the goals of an artist if he or she chooses to enter com-

petitions and build a reputation that way,� Martin explains. She carries some of her teachers’ paintings, including some from Rex Brandt, a California artist who, in the 1930s, came up with the idea of having watercolor workshops. Martin explains that it was through him she was introduced to watercolor. “Many of my teachers were teachers of the teachers, and that probably shows my age a little bit and coming along the highway of my own search in watercolor,� she says with a chuckle. Throughout her home she has “minigalleries� so that when people come to visit, they’re surrounded by beautiful creations that are not just her own but of her friends as well. One room in particular showcases paintings depicting much of her travels. “I’ve been to over sixty countries, so I always want to do some of the scenes, figures, and landscapes from my travels.

At the same time, I might do a flower or something from the backyard,� she explains. “I studied under Ed Whitney of New York, and he is the one I studied under in New Orleans and where I fell in love with the idea of watercolor. Eventually I gave up doing oil paintings and doing other medias and decided to stay in the one media so I could explore it fully without other distractions,� she explains. “I love the brilliance of watercolors and the fluidity of the colors mixed with water as it goes on the paper. It’s also a faster media than oil, since you have to wait so long for the oil to dry between sessions. There are many approaches [to painting watercolors]. When I do a painting, I might choose to do a landscape in a wet-and-wet method or a drawing and control of lines. Then I’ll be slower and have a drier approach.�

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THE by Jan Statman im Reardon has always been amazed by light, especially the effect of light on water and the effect of light on air. One of his earliest memories was watching light cause a picture to appear in his faim Tim Reardon has always been amazed by light, especially the effect of light on water and the effect of light on air. One of his earliest memories was watching light cause a picture to appear in his father’s photography studio. It was magic! Later, Reardon began taking photographs, went on to lasers, then finally to neon, because he considers neon to be the ultimate way of drawing with light. He wasn’t always “Doctor Neon.” That name didn’t come about until 1976. Reardon was living in Austin where Eeyore’s Birthday Party (a fund-raiser benefitting non-profit groups in Austin) is a major occasion. He had been working with neon, talking about neon, and spreading the enthusiastic word about neon. He also happened to be living in an apartment near Pease Park, so of course he attended Eeyore’s fabulous birthday party there. A masked reveler in a magnificent costume walked up to him, pointed his finger and announced, “Aha! Doctor Neon!” Who was that masked man? Reardon will never know, but after all, it was Austin, and he was willing to accept that honorary degree. He would be known as “Doctor Neon” from that day forward and forever. In describing the history of neon lighting, he explained that early twentieth-century chemists and physicists were aware that they could make a glow by using electricity in a reduced pressure tube, but it was only a scientific experiment to them. They couldn’t create anything useful with it until French engineer Georges Claude, while studying inert gases, found that passing an electrical current through them produced light. “Aha!” Doctor Neon exclaimed, “The twentieth century brought neon to life! In

OF DR. NEON 1914, Claude invented the electrode, and that is how you get electricity from the outside to the inside. He developed the neon lamp for use in lighting and for signs.” Unfortunately, that was during World War I, so Claude’s marvelous invention sat idle until the war ended. In 1921, the first neon sign went up in Paris, France. A tourist in Paris, who happened to be a Packard automobile dealer from Los Angeles, California, saw the sign and was amazed. He had to bring it home. In 1923, the first neon sign in America went up at his dealership. It was so remarkable that it took people’s breath away. By the 1930s, Georges Claude, who held the patent on the electrodes, was selling franchises in the United States for one hundred thousand dollars each. Neon continued to be popular through the Second World War and through the late 1940s. Times Square in New York was the center for big, bright, beautiful neon. Neon was the light that lit the “Great White Way.” In the early 1950s, blow molded plastic signs were developed. These signs were lit by less expensive fluorescent tubes. Neon tube vendors either went out of business or diversified. It wasn’t long before neon virtually disappeared. The 1960s and 1970s saw renewed interest in the glamorous glow of neon, but the 1980s saw the development of LED lights. They took away a large portion of whatever neon business remained. “I started working with neon in Austin in 1976,” Reardon said. “I wanted to make art. I said, ‘I’m going to do it. If I build it, somebody will come.’ My idea is always, ‘I don’t want to be as rare as the mayor or as commonplace as a city councilman.’ That keeps it honest to where you can produce a better product so people will come to you.”

Reardon had a sign shop in Austin, and he explained, “In the process of making them better, we were making them prettier. The whole idea was to make it function and to make it pretty.” He explained that good neon, which is strong neon, is smooth. It has no kinks, the welds are smooth, and it is a high quality product. It is functional, but it is also beautiful. Although some neon signs might just be large ads, Dr. Neon started adding pictures inside the signs, and that was when neon became art. He started making art pieces for himself. That caused a problem, because when people saw what was being done, they wanted to buy them. For many years someone bought every art piece Reardon made. That left him with nothing to show. “When I moved to East Texas, there was hardly anybody doing neon here,” he said. “There were only two shops in the area. One of them had lain fallow for years. It belonged to the folks at East Texas Signs. I asked Pete, ‘Can I fix your shop up and use it?’ He said, ‘Well, if you’ll do some things for me, that would be okay.’ So that’s how I was able to do my work right here in East Texas.” He explained that many different kinds of glass can be used for neon. The earlier glass tubes were made of lead glass. The colored glasses were soda-lime glass, but government regulations made it necessary to use lead-free glass, which is a harder glass. It is drawn in four or five foot lengths of machine-made tubes. There are various

diameters depending on the size of the project. Sometimes it is clear glass. Sometimes it is colored glass. Sometimes it has a phosphor inside that will glow. The name neon is misleading because the colors come from a combination of different kinds of gases, including neon, argon, and krypton. Reardon mentioned that since he is not Superman, the krypton doesn’t bother him in the least. He said, “The final color of the neon comes from a combination of the color of the glass, the gas inside and the phosphor. Each of the phosphors will result in a different color. Since there are different manufacturers of powder tubing, each has a different idea of what the color will be. There are hundreds of possible colors, so it takes time and experience for the neon artist to know what will happen by using which combinations. As Doctor Neon, Reardon explained, “You start with a glass tube. You draw the image to get the basic format. You determine the colors you want to use. That determines the type of glass you want to use, whether it is colored glass or clear glass and what phosphors are best. You determine the scale by the diameter of the glass. You work from the back to the front. If you look at any neon sign, the front is perfectly flat because it is made from front to back. You draw in all the crossovers to make it look good, to make it strong, to make it what you want it to be, and then you make something beautiful.”

“... and then you make something beautiful.” may 2013 - page e 14

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Wine A Taste of

with Danielle Dupont Clower

Hello again to all of you. Last time we traveled to the backwoods of East Texas and experienced the Meritage from Los Pinos Vineyards out of Pittsburg, but this trip I thought I would take you a little farther away. Let us travel about four and a half hours south to The Vineyard of Florence and the Inwood Estates Vineyards. They have the honor of making the Texas Rangers’ wines. Yes, the Texas Rangers do have an official wine for their baseball team! They actually have three different wines. Home Run Red, Striking White and Ballpark Blend. The Home Run Red is a blend of Cabernet Sauvignon, Merlot and Zinfandel. This juicy blend delivers aromas of pepper, blackberry and black cherry to the nose. On the palate, the taste mingles with the blackberry and black cherry aromas, but I do not get the pepper. Although I said it was a juicy blend, it is still a touch on the drier side. I suspect the Cabernet Sauvignon has the largest portion of this mixture. This wine would be great with ribeyes, or even barbecued, spicy ribs. The Striking Wine is a blend of Riesling, Chardonnay & Blanc Du Bois – a dryer, white wine with floral aromas and a refreshing melon flavor that finishes with balanced acidity. On the palate, it is crisp and refreshing. It consists of mainly Chardonnay with just a touch of Riesling and Blanc Du Bois – the perfect wine for a hot summer day beside the pool. Baked chicken with a little white wine sauce and pasta complement it well. The Ballpark Blend is a sweeter blend of Riesling, Chardonnay & Blanc Du Bois – a semi-sweet, white wine with honey aromas that finishes with a sweet,

crisp lightness. While The Striking White is mainly Chardonnay, this blend is more Riesling and Blanc Du Bois with just hints of Chardonnay. Perfect for any fresh fruit combination or just as an appetiff. I hope you have enjoyed our trip to South Texas. The beautiful scenery just makes these wines even more delectable. For more information on these vineyards, go to www.inwoodwines.com or www.thevineyardatflorence.com. There you will be able to check out the vineyards’ hours and many events. You can also obtain driving directions so that you may also enjoy this beautiful vineyard in person. Until next time, may your glasses remain full and your mind always exploring for the next amazing wine to tickle your palate.

No matter the medium, we’re pleased to support the Arts in East Texas. “There is incredible power in the arts to inspire and influence.” Julie Taymor American Director

3700 Gilmer Road 202 Hollybrook Dr. 903-759-0751 springhillbank.com PineyWoodsLLive.ccom

may 201 13 - page 15 5

STARS OF

EAST TEXAS

Join us as we pay tribute to some of the most prominent names tied to the Piney Woods of East Texas.

HISTORICAL PERSPECTIVES by Gary Borders Country singer Ray Price could be forgiven for slowing down a bit. After all, he turned 87 in January and announced several months ago that he was being treated for pancreatic cancer. But the Cherokee County native announced on his Facebook page in April that he was in Nashville working on a new album, his first since Last of the Breed in 2007 with Willie Nelson and Merle Haggard. He still plans on performing more than 100 concerts this year. As he told James Harvey of Texas Hot Country Magazine, “I’ve got pancreatic cancer, but it’s not growing. It hasn’t grown since they found it, and it hasn’t moved. I don’t have any traces of it in my blood, so it looks like we may have it stopped. I hope so. But everything’s been fine. All of my people are fine, and we’re back working.” Price, who lives on a farm near Mt.

Pleasant when not touring, was known as the Cherokee Cowboy when he first broke into the music business, because of where he was born. He was touted as the heir to Hank Williams, who took him under his wing and got him on the Grand Ole Opry. After Williams’ death, Price eventually fronted a band called the Cherokee Cowboys that featured some of the future greats of country music — Willie Nelson and Johnny Paycheck both played bass, Roger Miller was on drums, while Hank Cochran played guitar. Price stayed true to his honky-tonk roots throughout the 1950s and managed to knock Elvis Presley off Number One in the charts in 1956 with his rendition of “Crazy Arms.” But in the late 1960s, he changed di-

RAY PRICE

rection and began adding a large-string section to his repertoire, which helped him cross over into pop music stations. His hits, “For the Good Times,” and “I Won’t Mention It Again” are doubtless to contemporary fans his two bestknown recordings. Price, who was inducted into the Country Music Hall of Fame in 1996, told the San Antonio Express News the new album, called Love Songs, will feature “no breakups, no makeups, no whiskey drinking, no cheatin’, no honkyin’ around. It may be so rare it will really hit.” It just might.

Forest Steven Whitaker was born July 15, 1961, in Longview. His working middle class parents were Forest, Jr., who worked as an insurance salesman, and his mother Laura who was a special education teacher. In 1965, the Whitakers packed up their four-year-old son, Forest, and his younger brother, two-year-old Kenn, and moved to sunny California to their new home in Los Angeles. The Whitaker’s went to work to make a good life for their family. In 1970, they would welcome another son, Damon. It is reported that Forest, Jr. and Laura Whitaker were some of the nicest people you would ever meet. It is obvious to those today who meet any of the three Whitaker brothers that these traits were passed on to their sons. Forest grew up attending public school in Los Angeles. He was always a large built y o u n g man and athletic

by nature, so it was no surprise that Forest excelled in high school football, for which he became passionate. By high school graduation, Forest was six feet, two inches tall and weighed 220 pounds. He received a football scholarship to attend a small college in the LA area. While attending the smaller university, Forest suffered a back injury, and his interest turned to music and singing. It was not long before Forest was offered scholarships to attend the University of Southern California to train as an operatic tenor. This in turn led the talented student to another scholarship offer from Berkeley, focusing on acting. He performed often and was very wellreceived. “An agent saw me singing in an opera, so I started working professionally while I was in conservatory,” he said. Already establishing himself as a professional performer in music, Forest signed with an agent and began auditions. He made some small appearances in television shows such as, Different Strokes and Cagney and Lacey in the late 70s and early 80s. Forest’s debut on the big screen came in 1982. In 1981, he was offered a small role in a pop movie called Fast Times at Ridgemont High. The 21-year-old Forest accepted the role, and the movie was a huge success. Forest was offered more roles as the entertainment world discovered the talented, young actor. His extensive list of work over the next decade included roles in films such as The Color of Money, Platoon, Good Morning Vietnam, and The Crying Game.

In the 90s, Forest decided to broaden his horizons in the film industry and try his hand at directing and producing. Once again, the Longview native made his impact on the industry by directing such movies as First Daughter, Hope Floats, Waiting to Exhale, and two TV movies. As a producer, Forest Whitaker has brought 21 film projects to television and theatrical screens (including some yet to be released). Although receiving numerous awards, Forest Whitaker’s greatest success to date is the 2006 film The Last King of Scotland. His performance as Idi Amin earned him the 2007 Academy Award for Best Actor in a Leading Role. He also received the Golden Globe Award, the Screen Actors Guild Award, and several other nominations for his performance in the film. In September 2006, the 10th Annual Hollywood Film Festival presented him with its “Hollywood Actor of the Year Award,” one of the most prestigious awards an actor can receive from his peers and coworkers. Forest was married in 1996 to model/ actress Keisha Simone Nash. They have two daughters together, Sonnet Noel Whitaker and True Whitaker. Forest also has a son from a previous relationship, Ocean Whitaker, and is stepfather to Keisha’s daughter, Autumn. The Whitaker family lives in Los Angeles and recently received the LA BEST Family Focus Award.

Outside of his film work, Forest has done extensive humanitarian work. He has been involved with organizations like Penny Lane, an organization that provides assistance to abused teenagers, PETA and Farm Sanctuary, organizations that protect animals’ rights. He has become a spokesperson for Hope North Ugandan orphanage and Human Rights Watch. In the year 2001, Forest received the Humanitas Prize. He was recently honored by The City of Los Angeles with the Hope of Los Angeles Award. Forest joined forces two years ago with “Idol Gives Back” and “Malaria No More.” He has become a GQ Ambassador supporting and fundraising for Hope North. When asked about his work, Forest says, “I don’t know if I’m always grounded, but I try to keep my center… I work on it. I work on trying to be decent, trying to become a better person.” Forest Whitaker may have actually lived in Longview only for the first four years of his life, but still shows the friendliness and values of East Texans. We acknowledge the talented actor, director, producer, and humanitarian. Longview is very proud to be the birthplace of Forest Whitaker.

FOREST WHITAKER “Perky” comes to mind to many when Sandy Duncan’s name is mentioned. Or possibly Wheat Thins – the cracker for which she did many television commercials in the 1980s. But the Tyler native and three-time E m m y

nominee told examiner.com in 2009 that she grew up in a liberal family, opposed the war in Iraq and considers herself to be more bawdy and feisty than pert and perky. Now 67, Duncan headed to New York after a year at Lon Morris College in Jacksonville. She landed a role playing Wendy in Peter Pan, and garnered her first Emmy nomination for her role in Canterbury Tales two years later. Disney soon took notice and cast her opposite Dean Jones in The Million Dollar Duck in 1971. Soon she was appearing regularly on television, gaining her own sitcom, Funny Face. While on the set, she began experiencing severe headaches, which led to the discovery of a tumor on her optic nerve. As a result, she lost all sight in her left eye. That slowed her career, but only temporarily. Duncan became a regular on

TV variety shows. She returned to Broadway to gain her third Emmy nomination, this time playing the title role in Peter Pan in 1979. Her last long run on television came as a result of Valerie Harper’s wellpublicized contract dispute in 1986. That led to Harper leaving Valerie and Duncan taking her place with the show being renamed The Hogan Family. The show ran for four seasons. In the past decade or so, most of Duncan’s acting work has been in off-Broadway productions, including portraying Amanda Wingfield in Tennessee Williams’ The Glass Menagerie in 2009. Her son,

SANDY DUNCAN

Jeffrey, played her son in the production. The two first worked together 20 years ago in one of those Wheat Thins commercials.

T-Bone Walker might not have been born to play the blues, but thanks to his mother’s desire to find a better future for her son, at a young age he found himself hanging around some of the giants of the genre. Aaron Thibeaux Walker was born in Linden on May 28, 1910. His mother, Movelia, left her husband and took her son to Dallas when Walker was two, reportedly to improve her child’s chances for an education. Movelia played guitar; her next husband played bass and other instruments. More importantly, perhaps, the family was friends with noted blues guitarists Blind Lemon Jefferson and Huddie Ledbetter, known as Lead Belly. Walker was recruited as a youngster to lead Jefferson around, collecting tips for him as he played in Dallas bars. In turn, Jefferson began teaching Walker how to play blues guitar. His colorful

middle name soon morphed into “Oak Cliff T-Bone” when he began playing with Dr. Breeding’s Big B Tonic medicine show around Dallas at age 15. At 20, Walker won an amateur show sponsored by Cab Calloway, the prize being the chance to tour with the famed bandleader for a time. Later, Walker combined his gift for tap dancing with his skill at both guitar and banjo to draw crowds, especially after he moved to Los Angeles in 1935. Walker is widely believed to be the first blues guitarist to take up the electric guitar that year. After World War II, Walker became a bandleader and recorded some of his mostfamous songs, including “Stormy Monday,” considered his best-known title. A number of his songs made the Top 10 during the 1950s. He toured for a time in the early 1960s with the Count Basie Orchestra. Walker enjoyed a revival of his career during the late 1960s, appearing before largely white audiences at jazz festivals in Monterrey and throughout Europe. Many famous musicians credit Walker

as an influence, from Eric Clapton to Albert Collins, Edgar Winter and B.B. King. Walker died of a stroke in Los Angeles in 1975 a few months shy of his 65th birthday. After his death, he was inducted into the Blues Foundation Hall of Fame and the Rock and Roll Hall of Fame. Nearly all of his recordings have been reissued and are readily available for the latest generation to appreciate. The town of Linden hasn’t forgotten T-Bone Walker either. A non-profit corporation sponsors a T-Bone Walker Blues Fest, and the next one is slated for June 21-22. There are paid events at the Music City Texas Theater in Linden, as well as free concerts outside. The festival is sanctioned by the Walker estate and hosted by his daugh-

“When I heard T-Bone Walker play the electric guitar, I had to have one.” – B.B. King

ing in 1967, it was a typical small-town dream. She wanted to pursue a singing career. Luckily, her cousin lived there and provided a place to stay and perhaps a few connections. Under the name “Rainbo,” she recorded a single, poking fun of John Lennon for posing nude with his wife, Yoko. The record flopped. She soon turned to acting when it became clear that

SISSY SPACEK

tbonewalkerfest.com Sources: Handbook of Texas, about.com and tbonewalkerfest.com

“All the things people see me do on the stage, I got from T-Bone Walker.” – Chuck Berry

T-BONE WALKER When the Q u i t m a n High School homecoming queen moved to New York City after graduat-

ter, Bernita Walker. For more information, go to

her singing career was not going anywhere. Sissy Spacek clearly made the right choice. Her cousin was the actor Rip Torn, married to actress Geraldine Page. Spacek, who was born Mary Elizabeth and nicknamed Sissy by her two older brothers, soon landed roles playing a pair of adolescent misfits in Prime Cut and Badlands

— the latter across from Martin Sheen, who portrayed a serial killer. Her breakthrough role came in Brian De Palma’s Carrie, earning her the first of six Academy Award nominations. In 1980, Spacek won an Oscar for her portrayal of Loretta Lynn in Coal Miner’s Daughter. She was also nominated for a Grammy for her rendition of the title song, proving perhaps that her singing ambitions as a high school graduate weren’t entirely misplaced. Spacek met her future husband, production designer (and now film collaborator) Jack Fisk, on the set of Badlands, and the couple married in 1974. They had two now-grown daughters, one of whom (Schuyler Fisk) is also an actress. As their daughters were growing up, Spacek took an extended break from acting, coming back for some high-quality television productions on HBO and playing Jim Garrison’s wife in Oliver Stone’s JFK. She won her sixth Oscar nomination in 2001 for In the Bedroom. Spacek wrote her autobiography last year and was interviewed by Terry Gross on NPR’s Fresh Air. She talked about her East Texas small-town roots experiences, such as twirling a baton in high school. Here is an excerpt from that interview: “That was what all young girls in this area, that’s what we aspired to. That was the thing to do. In my adult life, when I’ve told my own daughters that, they were just horrified. They played sports. But that wasn’t really done back then. We were either cheerleaders or majorettes. I guess I liked the short shorts, Terry, I don’t know. It seemed so important to wear those white boots with jingle taps. ... Jingle taps on the majorette boots and jingle bells on the majorette boots were an important part of a little

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position. Apart from anything else, that really takes the fun out of it.” PineyWoodsLive.com

may 2013 - page 19

Spring in the gardens of

ROSEVILLE Article by Jan Statman | Photos by Ben Daily of Daily Photography

Violets bloom in the dooryard along with pristine white daisies, crimson coxcombs and delicate petunias. Twenty guinea hens chatter past the Victorian gazebo, making their way across the wide yard like a sorority of society ladies. One hundred chickens accompanied by a group of turkeys cackle in the background while a daddy goat, six mama goats and six babies look on with satisfaction. Before moving to the Piney Woods of East Texas, Melvin and Virginia McConnell had successful careers in Shreveport – Melvin was an elementary school principal; Virginia managed the McDade House, which she described as being much like the famous Ronald McDonald houses where families could have a place to stay while loved ones were in the hospital. When they decided the time had come to retire, they realized they were too active to simply sit at home. They thought it would be pleasant to open a nice, quiet bed and breakfast inn. “We knew we were not ready to stop. We knew we would do a bed and breakfast. Why? We don’t know why. Why do people do anything they do?” Melvin said. “Virginia has always baked sweets, and I have always cooked different recipes, so we figured we might as well keep on. We didn’t have a clue about it being a full time occupation.” Maybe they would have a weekend guest or two every so often? Maybe they would expand the breakfasts to serve special luncheons for special groups? Maybe they would also serve dinners from time to time? They didn’t expect that they would soon find themselves so overwhelmed by the numbers of guests who became friends

may 2013 - page 20

and who kept coming back that they would have to add more dining rooms and people to help them take care of the crowds! “We have been lucky to find good people who come to help us,” Melvin added. “Some of them are our neighbors. They have been with us for almost as long as we’ve been here. They’re not people who just think being here is work. They care as much as we care, and they want everything to be done exactly right.” When they lived in Shreveport, their hobby was gardening, which included growing and developing spectacular daylillies. Melvin had become a daylily hybridizer and was honored with awards for his beautiful flowers. The hybridized daylilies were planted around a large, blue pottery urn which held a central place in their garden. They named many of the lilies in honor of that urn including: Roseville City Cop, Roseville Beauty Shop, Roseville Urn, Roseville Surprise, Roseville Supreme, and Roseville Café among others. They also planted a very popular ruffled and pink variety named Petticoat Party and a yellow ruffled flower named Accordion. The couple had one of the largest collection of daylilies, especially double day lilies, in the country. Their garden was the focus of regional meetings of the Arkansas and Louisiana Daylily Association. During a National Daylily Tour, nine hundred people visited their gardens. One day, a messenger from the Federal Government came and announced they had to sell their Shreveport house and property because the land was needed to expand the airport! They knew they had to go somewhere, but where would they go? After

careful searching, they found an old 1930s farmhouse on Highway 80. It was a pleasant enough place with 10 acres around it, so they decided it would be the perfect place for them to move. They are careful to explain that the house was nothing at all like it is now. “It was 2200 square feet here,” Melvin said. “We eventually added to where it has 4700 square feet now.” They added a wide wraparound porch and filled it with swings and wicker furniture for a homey feel. Then they went to work inside the house, tearing out the old green shag carpets, painting fireplaces and adding wooden floors and Victorian wallpapers. They decided to decorate with antiques to give the house the feeling that visitors were coming home to grandma’s place, or mama’s place, or a friend’s house, or simply to an earlier more easygoing time. “A gazebo grew up in our front yard about five or six years ago. That is the only spot in the yard that is shaded a good portion of the year by that big tree out there. It’s centered in the shade because we’ve had weddings where it would be over one hundred degrees and three hundred people would be sitting out there nearly dying in the heat. The shade helps keep them comfortable, at least in August.” Melvin smiled. “I planted the gazebo there, but the tree was already there.” Virginia said, “Some of the antiques inside the house are from our family, and we bought some from an antique dealer. The two matching sofas in the parlor were purchased from two different friends. Another friend did all the crochet pieces we have in the house. Some of the crochet pieces are

framed, some of them are on tables and some are just put away for right now. Some of the china was my aunt’s. Some of it was my mother’s. We added some of it with all of our luncheons. Of course, we had to buy more china and more stainless.” “A man brought me a set of china in trade for daylily bulbs” Melvin added. When they were obliged to leave their Shreveport home, they knew that if they didn’t do something, the carefully nurtured gardens would be destroyed and all their plantings would be lost. With great attention to detail, they rebuilt the gardens, stone by stone, brick by brick, fencepost and lattice until they had recreated the daylily gardens in their original home. “You can look out there and see everything that was in Shreveport. We brought every rock, brick, picket, and the 100 shrubs that are across the front of the house,” Melvin said. “We brought all the daylilies, every one. That was a thousand buckets of daylilies.” The gardens are a spectacular part of Roseville, and the daylilies are a spectacular part of the gardens. It is easy to think that a 10-acre estate called Roseville would be overflowing with abundant roses. While there are, of course, beautiful flowering rose bushes, the name “Roseville” came about in quite another way. Melvin’s hybridized daylilies were planted around a large ceramic urn. One day, Melvin turned the urn over and noticed the name “Roseville Pottery” on the base. “I looked it up on the internet,” he laughed. “And do you have any idea what a 32 inch Roseville pottery urn is worth?” Needless to say, it came right indoors! It

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now sits proudly in the living room where it is filled with very real looking artificial roses.” When they needed a name for their bed and breakfast, Virginia suggested that since so many of his daylilies already bore the Roseville name, they ought to use that name for their bed and breakfast. “Roseville!” Melvin exclaimed, “That was it!” But the welcoming Victorian house with its piano in the formal front parlor, dining rooms, antique filled bedrooms, and two-room cottage was not originally surrounded by flowers. “When we came here, these flower beds you see at the front of the house were not here because there was a big tree right at the corner of the house and there was a big tree at the side,” Melvin said as he displayed an old photo of the house. “It was a hackberry tree that covered the whole end of the house so that nothing would grow there. Then a hurricane came along and took it away. It fell in parts. The last part fell and broke the power lines in August. We had twenty people coming to eat, and we had no power. This one fell in the first storm. The other one fell in the second storm, and the one in the back just fell without a storm, for no particular reason we could figure. Hackberries can be fine for a hundred years and just out of the clear blue sky they’ll split in half, and half will fall.” Luckily, the tree did not fall on the house, but it did make room for the flower beds which can be described as “cottage

gardens.” They are now filled with overflowing perennials. “I like perennials,” Melvin was quick to explain. “They take care of themselves. They are not planted; they come up and replant themselves where they want to be. In spring, our cottage garden flower beds are solid with poppies. There are lavender, red, pink and rose poppies. Coreopsis is in among them, and Shasta daisies. I like Shasta daises. In spring, I’ll see tiny little things with two little greenish, burgundy leaves come up, and they will develop into coxcombs. Their bright, red heads will mix with the Shasta daisies and they will be everywhere. I like bluebonnets and petunias and zinnias in summer. We plant sunny border blue Veronica. I have herbs scattered in among all the other garden flowers. You’ll see basil, mint, oregano. There is not any comparison between what you go right out and cut and what you get dried in a bottle. We have something blooming all the time. The gardens will be solid from spring until fall.” Along with the gardens, the antiques, the goats, chickens, guinea hens and chickens, Henry, the ginger cat, is an important part of the Roseville estate. He greets all the guests, and he loves to be in their photographs. If he sees a camera, he will run to pose for the photo. For further information, please call Melvin and Virginia at 903-935-5000 or check their website: www.rosevillebedandbreakfast.com

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BINDLER ON

BROADWAY by Jan Statman

on the East Coast. After he built a career as a successful film producer and director, he made his home in Los Angeles on the West Coast. But it is clear that his heart and thoughts remain true to the special place that is right here in East Texas. Following his successful collaboration as director of the movie Surfer, Dude with his hometown friend Matthew McConaughey, Robb has continued to make documentaries and documentary-based commercials. He said, “I’m just sort of a filmmaker out in the world, looking to make films.” He has been described as being, “a director with an eye for natural detail who finds humor and poignancy in everyday subjects.” Hands on a Hardbody is certainly one of those poignant everyday subjects. The original 1997 documentary won many important “When we came out onto the awards before it quietly disappeared from view. street that night, we saw the It became something of bright lights and crowds of people a cult classic and a thing of legend. It was someat the car dealership. I was thing people heard about and talked about. Even curious, so I wandered over there though people rememto see what was going on. The bered the documentary, they couldn’t see it. It contest was possibly on its last was almost impossible to find until it gained night and I was mesmerized.” renewed enthusiasm. Still, Bindler doesn’t like to hear his work called a “cult classic.” Even though it is often described that way by stands for Seth Robb), he is still just Robb the popular press, he feels that description to his Longview friends. The Longview is misleading. High School graduate is the son of Ty“It just caught on and had a long life. ler natives Donald and Sharon Wildstein It never became a blockbuster because it Bindler. was a documentary,” he explained. “At Bindler favors a bi-coastal lifestyle. that time, in the 90s, the only documenHe graduated from New York University They say there is a broken heart for every light on Broadway, but everything is still coming up roses for Robb Bindler. Even though the musical adaptation of his famous film documentary Hands on a Hardbody closed after a disappointingly short run at the Brooks Atkinson Theatre in New York City, the play brought renewed interest in the famous but hard-tofind film documentary. The name of the documentary may sound racy, but the title is misleading. The “hard body” in question is a pickup truck. The story tells about a group of East Texans who are in an endurance contest to win an elusive truck. Although he uses the professional name S.R. Bindler these days (the S.R.

may 2013 - page e 22

taries you saw were educational documentaries. You weren’t seeing a lot of documentaries that were meant to be entertainment.” How did this entertaining documentary come about? Home from college for a holiday break in ’92 or ‘93, Robb and some friends spent a pleasant evening at the McCann Street Grill on McCann Road in Longview. “As usual, we closed the place down,” he said. “When we came out onto the street that night, we saw the bright lights and crowds of people at the car dealership. I was curious, so I wandered over there to see what was going on. The contest was possibly on its last night, and I was mesmerized.” He saw the contestants. He saw their desperation. He heard the voice of Tony McCullough, who was doing the late night live broadcasts for KYKX. “I only stayed for an hour or so, but that contest stayed with me for years,” he added. “When I graduated from New York University, I wanted to write a screenplay about East Texas, but that contest kept taking over. I talked with my friend, Kevin Morris, and we decided to shoot a documentary about it.” The movie was made on a shoestring budget. He said, “It was about as inexpensive as you could make a feature film.” The actual “Hands on a Hardbody” contest was much like one of those grueling depression era dance marathons. A dance marathon is a cruel endurance competition where people stay on their feet, trying to dance for a given length of time, usually for days and nights on end. Dance marathons started as a popular fad during the hard times of the 1920s and 1930s when many people were so desperate they

would do almost anything for the prize money. The dance marathon prize eventually went to the last couple that was still standing. In this case, the prize was a pickup truck. The winner would be the last person who could stand there, day after day, night after night, for the duration of the event, with their weary hands on that hardbody truck. According to the rules, the duration of the contest was seventyseven hours. There were only five-minute breaks every hour. Six minutes and you were out. There were fifteen-minute breaks every six hours. Contestants had to keep at least one palm on the truck for the duration of the competition. They would be instantly disqualified for sitting, leaning, squatting, falling asleep, or possibly just falling over between their rest breaks. Bindler and Morris interviewed the contestants. They learned their stories, discovered their personalities and began to appreciate them as real people. Many of them were simply regular, everyday people trying for a chance to change their luck. They only wanted to make things right, to look to the bright side, or to find a way to somehow get themselves a better break in life. Bindler said, “The contestants were smart and witty, and they were really self aware.” He mentioned that sometimes they laughed or they joked, and in spite of their exhaustion they were often kind to each other. “It’s much easier for the audience to laugh when the folks on the screen are laughing with you,” he explained.

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Even though the original film had become hard to find and actually was unavailable for many years, there were people who still saw the possibilities in the story. They kept coming to Bindler and Morris with ideas for making it into a stage production. “Over the years, we were approached by various teams who wanted to make it into a stage version,” Robb said. “More than just a stage version, we were approached by two or three teams that wanted to make it into a musical. This team just felt right. They had good ideas. They were enthusiastic, and they had done great things in the past, so we decided to go with them.” Pulitzer Prize winning playwright Doug Wright wrote the musical’s book. Trey Anastasio of the band Phish wrote the music along with lyricist Amanda Green. The musical staging was by Broadway choreographer Sergio Trujillo. Neil Pepe was artistic director. The out-oftown production played to enthusiastic audiences and had encouraging reviews, but Broadway is a difficult place, and this has been a difficult theater season. Bindler said it was a good feeling to have someone else pick up the story. “It felt quite good because I enjoyed the musical,’ he said. “It was adapted with respect for the original and for the characters. The musical writers ran with it and expanded it and broadened the themes. It’s

been wonderful. My concern was for the contestants in the film to be respected and not treated badly. I wanted to watch the musical with the contestants and be sure they would all say, ‘That’s exactly how it went down. That was the truth’.” A number of people who had been the original contestants in the film were flown to New York City for the premiere on Broadway. “The opening was an incredible epic evening,” Bindler said. “I spent time with several of the contestants in the mainstream. At the end of the performance, they were brought right out on stage with the actors. It was one of the highlights of the evening.” Thanks to renewed interest, the Hands on a Hardbody documentary is available again. “It has been remastered and it is now available for downloading/ streaming, and the DVD is available on Amazon and iTunes,” Bindler added. “It is going on The Texas Independent Film Network tour of college towns, as well as being in Austin, Dallas, Houston and other places. The new release will have 86 minutes of new material. There are currently plans for the film to have a national theatrical campaign beginning this summer.” For additional information, or to find the best place to see the original documentary, please check the film’s website at www.handsonahardbodythemovie.com

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may 201 13 - page 23 3

The Culinary Arts AT

LONGVIEW HIGH SCHOOL

AND

KILGORE COLLEGE

byy JJan b n St S Statman tatman tat tman

The young host is charming, seating guests with a gentle grace that comes only with practice. Well-designed tables are comfortably arranged so that there is no crowding. The wait staff is highly professional and careful to do everything possible to make the dining experience a pleasant one. Plated food is served from the left and cleared from the right. Water and tea glasses are never empty, filled with such ease that conversation among diners is never interrupted. Clearly, attractive presentation is important enough that the food looks almost too pretty to eat, but one delightful taste leads to another. It is obvious that great care and thoughtfulness has gone into each dish. Could this be some elegant and exclusive new addition to the East Texas dining scene? Well, this particular bistro is located in Longview High School’s newly enlarged technology building. The food is indeed elegant, and strictly speaking, the opportunity to dine at the high school’s bistro is exclusive. “We only serve meals for school related functions,” Vicki Tramel, Culinary Arts Instructor for the Longview Independent School District’s Culinary Arts Program explained. “This

is only our third year in our brand new, state-ofthe-art facility.” The curriculum is designed to meet training needs in the Longview area. By special arrangement with Kilgore College, Longview High School students have the opportunity for dual credit courses. This allows them to move directly into Kilgore College’s degree program offering the associate of applied science degree in culinary arts. The Longview High School facility also accommodates Kilgore College classes. High school students work with Tramel during regular school hours. She is a board member of the East Texas Restaurant Association. She has been a board member and co-chair of the Texas Restaurant Association Education Foundation, and is an active member of the Texas Restaurant Association. Kilgore College students take over the Longview High School facility from 4:30 p.m. until 8:30 p.m. They work with Kathryn “Kat” Jackson for late afternoon and evening classes. A certified chef, Jackson is the leader/instructor for the Kilgore College Culinary Arts Program. She has a bachelor of science degree from Texas Tech University in hotel, restaurant and institutional management and has had fifteen years of industry experience working with hotels as the senior manager overseeing restaurants and food and beverage services. Before coming to Kilgore, she was with the Marriott chain at the Renaissance Hotel of Dallas and the Worthington Renaissance Hotel of Fort Worth. “Our high school students must make an application in order to be accepted into this

program,” Tramel explained. “This is a highly regarded activity for serious and determined students. They are selected on the basis of their dedication, interest, grades, and recommendations. We consider that ninth graders are too young to participate, since working in kitchens involves dealing with dangerous items like sharp knives and hot fires. We are open to tenth, eleventh and twelfth grade students. After being accepted into the program, they are required to take a one and a half hour introductory class. Only then are they eligible to take the dual credit courses through Kilgore College. Of course, they learn to cook, and they learn how to do wonderful things,” Tramel added. “One of the many important benefits is that Longview High School requires them to take the Serve-Safe exam to be certified in keeping restaurants clean and sanitary. Commercial restaurants need people who hold this certification. Kilgore College requires it as well.” Clearly, this is nothing like your mom’s old home economics class. This is a serious opportunity offered in a state-of-the-art facility. It is designed to train students and to prepare them for the demanding realities of the service field. After completing the program, they will have the prospect of earning a living in the food service and hospitality industry. They become eligible for such jobs as chef, baker, recipe developer, menu planner, food & beverage director, training director, catering manager, and banquet manager. “Longview High School has had a culinary arts program for at least ten years,” Tramel said. “Before we had this facility, I taught culinary arts in the school’s old homemaking department kitchens. This fabulous addition was made possible by a recent school bond election. Along with her late husband Gerard Cace, Cathy Cace, owner of Johnny Cace’s Seafood and Steak House here in Longview, was a guiding force in making

Students stand behind their completed dishes at a recent competition. The Students had to prepare an appetizer, an Entree (including protein, starch, and vegetable) and dessert in one hour, using only two burners.

Blake Lovela ce, School Cupcak wins the Regional High e Battle, and will compete the State com at petition this m onth. this happen for our students. The Caces were very active in the Texas Restaurant Schools Restaurant Association Foundation’s program.” Our kitchen was designed by the same architect who designed a similar facility for the Texas Christian University program. When we first opened our doors, the architect visited the school, looked around, and told me he thought this one worked out even better than the one he designed at TCU!” The ProStart program of the National Restaurant Association is a curriculum-based program developed by the Texas Restaurant Association Education Foundation. It prepares young people for careers in the restaurant and food service industry. They learn valuable restaurant and food service skills through their academic and workplace experience. The program has the full support and encouragement of the Texas restaurant industry, making it possible for 170 Texas high schools and some 12,500 students to participate each year. It is designed to add more schools and reach more students every year. Last year, Vicki Tramel received the Texas Restaurant Association Education Foundation’s 2012 educator excellence award. The award was established to honor a culinary arts instructor in a Texas ProStart school who demonstrates leadership and excellence. To be eligible for this honor, the teacher was expected to advocate for the Texas ProStart program and be dedicated to helping their students achieve high levels of success in high school culinary arts. “This award means the world to me,” Tramel said and added that a number of her students have already been able to put their skills and passion for the culinary field to work. “Some even want to go on to become chefs,” she added. “It’s rewarding to see the proof of this program and how their hard work is paying off.”

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“B si �

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ofmusic it was written after an argument. “Barry and I had both been in an argument before writing the song. So we happened to be in the same mood.� Robin stated that the argument was about absolutely nothing; they were just words. I think this lyric nicely frames this month’s column about songwriting – it’s only words. One quick disclaimer before I continue. For the purpose of this column, I will define a song as words and music. But I fully understand that is not necessarily so. Rules are to be broken in art, and who am I to argue with that, although I am sure someone will. Music without words can be a song (for example, Booker T. & the MG’s “Green Onions�), and words without music can be a song (most of Rod McKuen’s work). However, for the purpose of this discussion, a song contains words and music. This month’s lyric snippet about words says it all for a songwriter. Words may be all we have, but they can be very powerful. To quote Cary Newcomer (one of my

Words It’s only words And words are all I have To take your heart away Written by the Bee Gees “Words� was originally written and intended for Cliff Richard, but he never got around to recording the track as he wasn’t making an album at the time. Rather than wasting the song, the Bee Gees decided to record it themselves. According to Robin,

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instructors at Kerrville Song School many years ago), “It is not a car; it’s a flat black Chevy from the year you were born.� That, better than anything, expresses to me the power of words. Simply saying “a car� does not convey a feeling or any emotion at all, and its lack of specificity leaves much to be desired. However, “flat black chevy� stirs up a definite picture in the mind’s eye, and adding “from the year you were born� makes it even more powerful and personal. For this reason, shelves of books have been written on the subject of song lyrics. Words wield much power in our modern world. They can be weapons of attack; a soothing, healing, comforting balm; a side splitting joke; the essence of a dark, brooding place; a smiling face; or the warmth of someone you love. They are the most directly powerful aspect of songs, but they are only part of what makes a song moving. In fact, without other major tools in our song crafting toolbox: melody, rhyme and rhythm, we have a poem. I realize that some of my readers already understand these things and are thinking, “What about prosody, harmony, tempo, key, chord progression, instrumentation and arrangement?� My answer is, “Yes, these are important, but they are the icing on the cake, and I am only covering these things in this column to show how they relate back to the words, where the message really lives.� After all, songwriting is, at its very core, storytelling, and storytelling is one of the oldest civilized endeavors humans have in common. Many believe that rhythm, melody and rhyme were created in order to better facilitate storytelling. Before written language was created, all knowledge was passed down verbally and often around the campfire after the day’s necessary tasks were complete. The elders told their stories and thereby imparted information like what plants are edible, where to camp and how to prepare for winter. Yet such verbal knowledge proved difficult to remember without memory triggers, and that is where rhythm, rhyme and melody came in. Who knows which came first? But all three help the words “stick� in our memory. For example, I am terrible with dates, yet I can still tell you that in elementary school I learned, “Columbus sailed the ocean blue, in fourteen hundred ninety-two.� Why? The simple answer is the rhythm of the words and the sound of the rhyme – the most basic of memory triggers. To this day, when I am alphabetizing something, I often sing the alphabet song (to myself, of course) that we all learned in school in order to get the sequence correct. I still use the maxim, “I before E except after C,� when spelling those tricky “ie� and “ei� words. In the Lennon/McCartney song, “Yesterday,� the lyric goes, “Yesterday, all my troubles seemed so far away. Now it looks as though they’re here to stay. Oh, I believe in yesterday.� If you substituted all the “ay� rhymes (day, way, stay and day)

with non-rhyming words with equivalent meaning and roughly equivalent syllable counts such as distant and permanently, you would creat a line that reads, “Yesterday, all my troubles seemed so distant. Now it looks as though they’re permanent. Oh I believe in yesterday.� That simply doesn’t work, does it? Why? The simple answer is that there is no rhyme, or at least a poor non-memorable one. Don’t get me wrong, there are plenty of songs out there with no rhymes. A great example of that is Paul Simon’s “America.� There are plenty of other examples of songs without rhymes that work. But if you leave out one aspect of song-craft, the remaining ones become all that more important. Take rap music as an example. There is no melody, and to take up the slack, the rhythm and rhyme aspects become much more powerful and crucial to a song’s effectiveness. So, as you can see, though the words may be important, when it comes to songs, all the aspects are important. Does the melody marry with the message of the song to get the point across? Or perhaps did the writer intentionally put happy words to a sad melody or the reverse? It can work either way depending on what the writer intends, but if there is no real intention except for the joining of words and music to make a song, I can almost guarantee you will miss the mark. The mark being a memorable song that moves the listener. I guess you can say that the title of this column is a bit misleading. However, I still think that words are the most important part of a great song, and you are welcome to disagree. But the words can’t stand alone without the other elements of rhyme, rhythm and melody. Most song lyrics without music do not function well alone. As an example, imagine “Mustang Sally,� “Johnny B. Goode� or “The Way We Were� without music. The lyrics don’t stand alone in those cases, although some melodies do not need lyrics. Good songwriting is not easy. It is not as simple as stringing a few rhymes together and adding a melody of some sort. If it was, everyone would be writing good songs. Songwriting is an art, a craft, an avocation, a labor of love, and if you want it to be, a life’s work. It is one that I believe is well worth the effort. Let’s talk again next month. After all, it’s only words. As always, thanks for reading, and if you have comments, suggestions or criticisms about this or any of my columns, feel free to send them to me: randy@brownrandy.com If you ever simply get curious about what the heck this rambling old man does, then go to www.brownrandy.com/music. Listen to a few songs and let me know what you think. Randy Brown is retired from a real job, though he still manages to function as a singer/songwriter living in East Texas. and has been involved with many sides of the music business over the years, from being a sideman, a sound man, touring songwriter, operator of a venue, and a recording studio owner/engineer. He knows his lyrics are only words but dang, he sure spends a lot of time on em’.

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Art in the Home

The Contemporary Home of Elizabeth & Dan Stroup by Jan Statman | photos by Ben Valencia “Everybody can go to a store and buy the same sofa, but what you do with it in terms of the artwork you put with it and the accessories you add to it, that’s what makes a room. That’s what defines your personality. I think it’s critical, just as I truly believe that a designer can’t buy art for people. I can show them things that I think would be good in their rooms, but I can’t pick it out for them. Art is such a personal thing they have to pick it out for themselves.� Elizabeth Stroup feels strongly about how important original works of art are to creating a warm and welcoming environment. She believes artwork can express individuality and put people at ease in a familiar and friendly place. But what kind of art does this

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designer choose for her own space? A brightly patterned carpet welcomes guests to the entry of Elizabeth and Dan Stroup’s home. It echoes the colors of the large Imari bowl that is centered on a contemporary black glass-topped dining table. The bowl is very old and holds special memories, because it was a wedding gift to Elizabeth’s grandparents. She admired it in her grandparents’ home when she was a child. Glorious colors add excitement to the naturally subdued grays and whites of the walls and floors. With high ceilings, glass walls and clear surfaces, they create the perfect surrounding for the couple’s collection of contemporary Texas art. A large, six-foot square painting by Derrick White dominates the dining area. Layers of subtle color advance and recede as the eye adjusts to the artist’s detailed concept. The painting is titled CRAG. The Stroups first saw it in a juried exhibit at the Longview Art Museum, where the judges had awarded it a coveted second place prize. But how does a serious collector choose the things they want to own and live with from among the many different pieces they see at art galleries and museums? “The romantic idea of ‘love at first sight’ is real and true. It does exist, at least as far as art is concerned,� Elizabeth Stroup explained. “When I look at a work of art, I just almost immediately have to fall in love with it. That’s the basic criteria. I really do see things and think, ‘Oh gosh, I love that! I would like to have that one in my home.’ Unfortunately, if I hesitate, the piece will be gone to someone else who did not hesitate. Someone else will have rushed in and bought it, and I have lost it forever. And then there are things I look at and say, ‘Oh! What was the artist thinking?’ Those kinds of things do not come home with me.� She is not a specialist as a collector. Some people collect only paintings. Some collect only paintings with a specific theme. Some collect only metal sculpture or only mosaics. Her focus is wider. “I have a T-shirt that says, “Your art shouldn’t match your furniture.�

As long as a work of art is well-executed and has a good sense of design, it is something to be considered although everyone might not love it,� she said. �We all come from different backgrounds, different educations and different experiences. That’s why we have chocolate and vanilla. Some people prefer chocolate, some like vanilla. This is good because works of art are unique and special. I don’t want to walk into somebody else’s house and see my art. They should collect what they love, and I will collect what I love. While a sensitive eye should be carefully developed, collectors may simply be born to collect.� Elizabeth insists that she has always collected. “When we first started, we didn’t have any money,� she laughed. “I went to student art shows, gallery shows, and bought things I loved and for the most part, I still have them. I may not have them hanging in a prominent place like I did when we were first married, but I still have them.� A very early acquisition is a black and white woodcut print titled The Bad Guys (2). The strong composition features three men in cowboy hats and mustaches, just like the bad guys in an old western movie. “For a beginning collector, the most important thing is to buy with your heart – buy something that really speaks to you. Look for things that fit your budget,� she advised. “ Don’t be intimidated by original art. There’s a price range for everybody. There’s something for everybody; you just have to look for it. Art

1. changes your life. I enjoy looking at our art every single day. If you have art, you should really love to look at it every day. And we don’t ever get tired of our art.� Sound of Flight (3), the dramatic 24�x30� Jerry Seagle canvas is both dramatic and arresting. Head 2, a large black and white drawing by the sculptor James Sullivan hangs above the fireplace. A museum exhibit of Sullivan’s straw sculptures drew the two to this powerful drawing, and there again, it was love at first sight.

2.

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may 2013 - page e 28

PineyyWo oodsLive.com m

“

“We all come from different backgrounds, different educations and different experiences. That’s why we have chocolate and vanilla. Some people prefer chocolate, some like vanilla.

“

“The romantic idea of ‘love at first sight’ is real and true. It does exist, at least as far as art is concerned.

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3. A small photograph by Carolyn Fox Hearne was taken in Seattle. Cartouche (4), a six-foot-tall, color filled painting by Jan Statman provides an exciting counterpoint to the black and white pieces. Another wall boasts a small, mask-like sculpture in metal and paint (1). Its nest of wavy, green metal “hair� has special charm. A large print is actually an invitation to a long ago Don Cunningham sculpture exhibit at the Chapman Kelley gallery in Dallas. The sculptor worked in acrylic, and the print has the sense of

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acrylic transparency. The invitation was photographed through one of the sculptures to create its distorted crystalline effect. Elizabeth believes a home without art is naked. “Putting original artwork in it is critical to me,� she smiled. “That doesn’t mean it has to be expensive art work. People often think that artwork is very expensive, and therefore, they can’t have it, or they can’t afford it. Art is not only for the wealthy. Art doesn’t only belong in a giant mansion. Art is really for everybody. I think we all need art. That’s why it exists.�

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10

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1,2 & 4- Artists exhibited their work at the Penny Nichols Sanders Fine Art Show in Tyler, March 22, 2013. 3-Artist Jan Statman, Longview Art Walk, April 4, 2013. 5 & 6 - Jammin’ at the Old Time Music and Dulcimer Festival, Palestine, March 23, 2013.

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6

11

9 - Longview’s Live at 5 on April 12 featured singer/ songwriter Shane Phillips.

1

12 7

2

10 - Wirelight on Marshall’s Telegraph Stage, April 19, 2013. 11 - Axel Zwingenberger performs at Marshall’s Boogie Woogie Heritage Fest, April 13, 2013. 12 - Bluesman Eric Gales wows the crowd a the T-Bone Walker Blues Fest Sponsor and Volunteer party, Linden, April 19, 2013.

8 3 13 9 4

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7 & 8- The Keith Horton Band entertains at The Back Porch, Kilgore, March 30, 2013.

13 - Claudia Lowery with artist Percy Hall, at Hall’s exhibit at the Southwest Black Fine Art Show, Dallas, April 19, 2013.

Event season is here!! There is literally something to do every night of the week here in the Piney Woods area. Please go to our website at

www. pineywoodslive. com/events.

There is a field that says search events. If you leave that field blank and hit search, it will pull a list up of all events happening here in East Texas. ALSO, if there is something coming up that you want added, there is an option to add an event as well. Thanks for reading, and we hope you enjoyed reading this issue of Piney Woods Live Magazine!

may 2013 - page 31

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may 2013

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