ROUTE THE MAGAZINE THAT CELEBRATES ROAD TRAVEL, VINTAGE AMERICANA AND ROUTE 66
December/January 2024
Magazine
THE FESTIVE ISSUE
THE LESS EXPLORED SIDE OF ROUTE 66 $7.99
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Kick Back on Route 66
Whether it’s classic cars, old fashioned burgers or a museum that brings history to life, you can relive the glory days of Route 66 in its birthplace. We love our city and know the best places to eat, drink and play. Get your kicks at the Birthplace of Route 66 Festival, August 10–12, 2023.
SEE YOU IN SPRINGFIELD, MISSOURI
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THERE’S SOMETHING FOR EVERYONE IN CLAREMORE, OK!
CLAREMORE HAS THE HORSEPOWER SUMMER 2024
LOVE MUSEUMS? THEN COME SEE ‘EM!
Will Rogers Memorial Museum
J.M. Davis Gun Museum
Claremore Museum of History
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Chicago
Willowbrook
Romeoville
Joliet
Joliet
Wilmington
Braidwood
Dwight
Pontiac
Pontiac
www.TheFirstHundredMiles.com
Rivers and routes Discover a new Post Card Mural Trail, a giant pink elephant, the world’s tallest catsup bottle water tower, giant monuments and more along the Last 100 Miles of Route 66 in Illinois. Legends live on this legendary highway. Learn more at riversandroutes.com
Wildey Theatre Edwardsville, IL
World’s Tallest Catsup Bottle Collinsville, IL
Twistee Treat Diner Livingston, IL
Granite City Mural & Monument Granite City, IL
OUR MOTHERS AGREE. A GOOD MEAL ON THE ROAD IS A MUST.
SAINT ROBERT, MO
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hen two famous moms come together, you know it’s going to be something special. And that’s just what the Mother Road
and Mother Nature have done by creating one of the most beautiful and memorable drives through the heart of the Ozarks. As you wind your way along Pulaski County’s 33 miles of Route 66, you’ll be greeted and amazed by the never-ending natural beauty. Plus, there are historical attractions and fun stops to make it an experience. And talk about great places to eat… Delicious homemade and chef-inspired choices for you to enjoy and refuel and continue your adventure. Come Say “Hi” to Mother Nature and the Mother Road. For more info, visit pulaskicountyusa.com.
CONTENTS
Stewart’s Petrified Wood Shop, Holbrook, AZ. Photograph by Efren Lopez/Route66Images.
22 Joplin Famous
40 Crossing the Roubidoux
28 Tulsa’s High Society Hangout
56 Community Is Where the Beer Is
By Raymond Joseph Joplin is home to some of the coolest stops along Missouri’s stretch of Route 66, but one lesser-known eatery, Woody’s, just may be your favorite culinary surprise — and they have a great story to boot.
By Cheryl Eichar Jett America has many historic hotels, but few luxury venues along America’s Main Street have had such a fascinating, beautiful journey as Tulsa, Oklahoma’s Mayo Hotel. Not only is the venue elegant and sophisticated but it is a family-owned property that has endured the decades in style.
34 What’s in a Name?
By Jim Luning Up and down the highway small shops and trading posts showcase colorful bottles of soda with a special name: Route 66 Sodas, but few people have ever asked where the brand comes from. We don’t usually feature products but this one is just too unique not to celebrate.
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In a country dotted with bridges, it is not hard to find one with a great tale to tell. But down in Waynesville, Missouri, the Roubidoux Bridge has been transforming how people cross Pulaski County since 1923, and its inception and life has an interesting journey behind it.
By Sarah L. Boyd Across the U.S., microbreweries have been meeting the need for delicious craft beer since the 1990s and university towns like Flagstaff, Arizona, have really led the charge. Route 66 impacts people in different ways but after a life-changing experience on the iconic road, one businessman decided to invest everything into a destination that has found a very grateful audience. Meet Mother Road Brewing Company.
ON THE COVER Meteor Crater National Landmark Visitor Center, Winslow, Arizona. Photograph by Scott Flanigan.
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EDITORIAL For much of the road, this is the “quiet” season. That is not to say that no one is on the move. Actually, a great many travelers are on an adventure across America even as you read this editorial, but compared to spring, summer, and fall months, many of us are a little less brave to tackle the country’s two-lane highways and byways, even Route 66. But for those who do, the experience promises to be rewarding. First of all, there is not the crowds that jostle for stores, gas pumps, restaurants, and museums, that define warmer month travels. There is also, as a result, not the traffic on the road, so a jaunt down Route 66 is likely to be much more relaxed, personal. Also, with less demand, there are some amazing deals at shops and rates at hotels and restaurants. If you have always dreamed of taking on the highway and having it all to yourself, this is a great season to do so. In this issue, we are excited to close the year with some lesser-known stories. All across America, museums and historical attractions depend on the volunteers who staff them. You’ve met them. But how many of you have pondered how small towns stay relevant, vibrant? For many a location, it is very special folks that are hired to promote and preserve a town’s attractions and story. In Tucumcari, this is none other than the Tucumcari MainStreet team. Get to know them a bit. Almost everyone who has driven Route 66 in the last ten years has stopped to enjoy a Route 66 soda, but do you know the story behind the colorful, tasty brand? Take a read and you’ll appreciate the soda pop even more! They have had an exciting journey. Everyone loves a great vintage motel. We think about the Wagon Wheel Motel in Cuba, Missouri, the Boots Court in Carthage, Missouri, and the El Rancho in Gallup, New Mexico, but many people do not understand how many higher end historic properties are also available on a Route 66 trip that are often home to fantastic, historical buildings that all have a fascinating story. This issue brings you two of our favorites: the Mayo in Tulsa, Oklahoma, and the Barfield in Amarillo, Texas. After reading these articles I am confident that you will want to add them to your 2024 itinerary! These and so many wonderful stories make up the December/January issue this year. As you plan Christmas gifts and are deciding what to buy those who you love, please remember to order an annual subscription of America’s favorite road travel, classic Americana magazine for your friends and family. They will thank you! All year long. And don’t forget to visit Amazon and pick up a copy of my awardwinning book that has been touted as the best new travelogue on the shelves, Miles to Go. I would love your support for the story. Remember to follow us on social media and spend some time with us online. There are so many stories and articles there, too! Have yourselves a very Merry Christmas and may God’s blessings find you this season. Regards, Brennen Matthews Editor
ROUTE PUBLISHER Thin Tread Media EDITOR Brennen Matthews DEPUTY EDITOR Kate Wambui EDITOR-AT-LARGE Nick Gerlich LEAD EDITORIAL PHOTOGRAPHER David J. Schwartz LAYOUT AND DESIGN Tom Heffron DIGITAL Matheus Alves ILLUSTRATOR Jennifer Mallon EDITORIAL INTERNS Helene Martin Sarah L. Boyd CONTRIBUTORS AND PHOTOGRAPHERS Chandler O’Leary Cheryl Eichar Jett Deborah Allen Efren Lopez Jay Gilbert Jeremy Morris Jim Luning Katy Pair Mitchell Brown Raymond Joseph Sarah L. Boyd Scott Flanigan Steve Loveless Tubac Golf Resort
Editorial submissions should be sent to brennen@routemagazine.us To subscribe or purchase available back issues visit us at www.routemagazine.us. Advertising inquiries should be sent to advertising@routemagazine.us or call 905 399 9912. ROUTE is published six times per year by Thin Tread Media. No part of this publication may be copied or reprinted without the written consent of the Publisher. The views expressed by the contributors are not necessarily those of the Publisher, Editor, or service contractors. Every effort has been made to maintain the accuracy of the information presented in this publication. No responsibility is assumed for errors, changes or omissions. The Publisher does not take any responsibility for unsolicited manuscripts or photography.
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orthern Illinois proudly holds the first 100 miles of Route 66. From the start of the historic highway on East Adams Street in bustling Chicago, all the way toward the small peaceful town of Pontiac, quirky roadside stops abound. However, after leaving the crowds of the Windy City, the Mother Road odyssey really begins in Joliet. Here, the “City of Steel,” plays host to one destination that demands to be your first stop before clocking another mile west: the Joliet Area Historical Museum and Route 66 Welcome Center. The building that houses the museum, on the corner of North Ottawa and Cass Street, along an original alignment of old historic U.S. Route 66, is itself unique. The two-story, Neoclassical Revival style structure was once the Ottawa Street Methodist Church, built and designed by George Julian Barnes in 1909. It was purchased by the City of Joliet in 1990, and with its stainedglass architecture still intact, it opened as the Joliet Area Historical Museum in 2002, reconfiguring the century-old space into a repository of the town’s fascinating history. And showcasing the Mother Road’s wellcemented history alongside the local area’s story was an important historical concept that the planners were dedicated to including. “It is literally and figuratively, our Main Street. So, there was a notion, in addition to talking about local history, there was a lot of overlap with 66,” explained Gregory Peerbolte, executive director of the museum. “The significance goes back to this notion, one of transportation, which is a big story in Joliet and a legacy based on our industrial heritage.” Through cutting-edge visual presentations, intriguing exhibits, and life-size models, the main exhibition gallery on the main and upper levels offers an interesting glimpse not only of the city’s diverse historical past, but of its people as well, most notable being John C. Houbolt, a NASA aerospace engineer, who was raised in Joliet and credited with leading the lunar team behind the orbit rendezvous segment of the U.S. Apollo program. However, it is the Route 66 Welcome Center that sits in the main lobby of the museum, more than
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anything else, that dramatically connects visitors to their journey on the Main Street of America. The moment they step into the lobby, visitors are immersed into a true Route 66 experience; one that captures the essence of the historic highway. From the life-sized smiling figures of the quirky Blues Brothers comically relaxing on chairs, a 1909 Model E — the only one of three surviving buggies that has been fully restored to operating condition — on display, the brightly colored “vintage car” couches that circle a screen playing a history video on loop, or the engaging Route 66 map plastered to the wall, this first “real” stop along 66 is the perfect start to better understanding and appreciating a truly iconic era of travel. Also located on the main floor is a gift shop with maps, souvenirs, and memorabilia, ensuring that visitors take home a piece of Joliet and Route 66 history. Being at the crossroads of two of America’s National Scenic Byways: Route 66 and the Lincoln Highway, Joliet connects three different highways to form a transportation hub, of sorts. Acting as the guide to Route 66, the museum makes the Mother Road another piece to the puzzle of the area’s history. “Route 66 was constructed as an intercontinental transportation system, so the truck route is important for us to be located physically on Route 66,” expressed Peerbolte. “We view our Welcome Center as our original jewel in the crown, so to speak, but we are actively engaged with the old Joliet prison projects, and with a variety of other projects. We’re really going all in on grabbing the Route 66 population, so it’s something that’s so big and so important that we feel it even leaves the building.” The museum has plans to expand the Route 66 experience within the next few years. No amount of web-based planning can replace the Route 66 experience offered here, or the local’s perspective and tips from the museum staff who ensure that for every Mother Road traveler, the next 2,400 miles should be just as enjoyable as the first 48. So, before you head on west, make sure that you pay a visit to the Route 66 Welcome Center in Joliet and soak in some magic from the start of the route.
Photograph by David J. Schwartz – Pics On Route 66.
JOLIET’S MEMORY KEEPERS
WHERE T HE MO T HER ROAD BEGINS
Route 66 defined a remarkable era in our nation’s history – and it lives on today in Illinois’ Route 66’s many roadside attractions, museums, and restaurants – it’s the shining ribbon of blacktop we call ‘The Mother Road’.
SPE N D SOME T IME ON T HE I L L I N O I S R O U T E 6 6 S C E N I C B Y WA Y A N D DI S C OV E R ROU T E 6 6 Start planning your trip now at www.illinoisroute66.org. Request a visitor’s guide by emailing info@illinoisroute66.org and make sure to check out our mobile app by searching for ‘Explore Illinois Route 66’ in the App Store and Google Play, to help with all of your Route 66 Illinois planning.
Tel: (217)-414-9331 • www.illinoisroute66.org ROUTE Magazine 17
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cattered across the nearly 2,500-mile-long stretch of Route 66 reside many all-American eateries, easily recognizable with their retro décor and nostalgic atmosphere. Stepping into one, you might as well be stepping into a time machine that transports you back to simpler times. One 60-year-old café stands out among the ample options along the Mother Road though. With a bright neon sign displaying its namesake for all to see and a world-record holder parked in its open-air garage — more on that later — the Hi-Way Cafe represents some of the best parts of Route 66’s history in Oklahoma. Built in 1963, by local businessman Tom Shorts, the café has seen a lot during its time as a roadside destination, changing with the times as it changed ownership, from its original purpose of serving truckers passing through the area, to at one point being refurbished into a Mexican restaurant, but now restored back to its allAmerican diner aesthetic. Home in the quaint, close-knit community of Vinita, Oklahoma, the Hi-Way Cafe fits right into the small-town atmosphere. Owned and operated for the past 11 years by Beth Hilburn and her husband, Alan (whose parents owned the Western Motel next door until Beth and Alan took ownership in January 2021), lots of time and love went into refurbishing the café to its former 1960s-era glory, including the relighting of their original neon sign. The café was even featured by Mobil 1 as part of their Keep Route 66 Kickin’ campaign, bringing awareness to small businesses along America’s most historic roadway. But that was not enough, not for the Hilburns. They sought an even bigger way to pull motorists off of the highway. Dressed in blue jeans and a bright red button-up shirt, with tidy brown hair, and a delighted grin is the Hi-Way Cafe’s newest resident, Big Bill, a 24-foot muffler man — formerly known as the Mobil 1 Muffler Man. Making his debut in August 2022, the Mobil 1 Muffler Man journeyed the long road of Route 66 as part of the campaign. In November of 2022, he made his last stop at the café.
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Following the end of the campaign, the muffler man was left without a purpose or a home. Wanting to give him a more permanent base on the road, Beth Hilburn made the decision to bring the Mobil 1 Muffler Man back to Vinita. “We finally got the muffler man purchased, brought him to the café, and put him up at the end of June. We have lovingly renamed him… it no longer says Mobil 1 on his shirt anymore, it now says Big Bill. We named him Big Bill because my father was Bill. I like the idea of my dad still looking over the café,” said Beth. “I knew that I could give Big Bill a home. I just felt like he had travelled Route 66 and he needed to stay on Route 66. That’s where he belonged.” A large, brown suitcase — three feet wide and around eight feet long — holds the story of Big Bill’s travels along America’s Main Street, stickers marking each stop he made in support of small businesses. Soon to join Big Bill at his post at the Hi-Way Cafe is one of his kindred statue spirits: The Big Indian. The Mohawk Trail Big Indian stood vigilant on Route 2 in Charlemont, Massachusetts, for the past 49 years, but after Beth learned of his removal and impending destruction, she made the decision to add him to the café’s ever-growing family. “It was really important to try and save him. I felt like he was a piece of art, a piece of craftmanship. I have people that are sending me pictures of themselves at two and now they’re 50, and they’ve taken pictures every year with [the Big Indian]. I just felt like it was historical, and I didn’t want to see it just demolished. I felt like it needed to be preserved.” Now under the care of the Hilburn family, The Big Indian will make the nearly 1,500mile journey to his new home where he will proudly stand bookending the Hi-Way Cafe parking lot with Big Bill. Both giants have joined other muffler men and giant statues on Route 66 who stand resolutely representing the history of the Mother Road. Truly a sight to behold, Big Bill now towers over the baby blue café that he stands outside of with a gleeful smile, inviting all passersby to come visit and stay awhile.
Photograph by Brennen Matthews.
THER E’S A NEW MA N IN TOWN
DISCOVER CLINTON, OKLAHOMA
WHERE ROUTE 66 TRULY COMES ALIVE!
• HIS TORI C HOTE L S• D IV E RS E D INING• •M OHAW K LOD G E IND IAN S TORE• •THE WATE R ZOO•
www.clintonokla.org ROUTE Magazine 19
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s the sun descends across the vast rugged terrain of New Mexico, occasionally broken up by a rust-brown mountainous crest, travelers along Route 66 stand in awe as the charm of the landscape drapes over the open space. Without towering skyscrapers or the bustling of congested traffic, a person is truly able to appreciate the all-encompassing expanse of the world. Aptly nicknamed the Land of Enchantment, New Mexico allows travelers to experience natural beauty at its finest. But nothing is more unexpected than the phenomenon running across the western, mountainous edge of the sunbaked state — the Continental Divide. Originally proposed by German scientist Alfred Wegener in 1912, the continental drift theory is described as a slow shifting of tectonic plates beneath the crust of the earth which, as scientists claim, is responsible for the separation and drainage of rivers toward the Pacific and Atlantic Oceans. Through the “drifting” subduction of a small tectonic plate beneath another, the Great Continental Divide traversing North America was born. Skipping across the mountainous spine of sun-bleached soaring peaks before dipping into lush low valleys, the legendary “great divide” meanders across the United States, often depicted on maps as a long, jagged line scaling from state-to-state, extending its reach from Canada into Montana and down to Mexico. In the Land of Enchantment, Route 66 also cuts right through it. In New Mexico, the Continental Divide travels through the western side of the state following mountain ranges with the Rio Grande on the east side and the Colorado River drainage on the west. From Grants, New Mexico, the Mother Road traverses through the small towns of Milan, Bluewater, Prewitt, and Thoreau, heading towards the more bustling destination of Gallup, but 27 miles east of “America’s Most Patriotic Small Town”, Route 66 cuts right through the Continental Divide and its namesake 20 ROUTE Magazine
community, along Frontage Road. Paralleling what is now I-40, the old road then heads towards a dead end on the western side, where a former Whiting Bros motel and station once stood. While the pass had been historically used by Indians, settlers, and wagons, the Atchison, Topeka, and Santa Fe Railway (now BNSF) crossed this gentle mountain passing between Grants and Gallup, also known as Campbell Pass, with a rail line connecting Albuquerque to Southern California, in 1880. The first road over the pass was built in 1914 and, in 1926 it became Route 66. Back during Route 66’s busiest years, the Continental Divide was a pleasant surprise for weary road travelers who stopped in for gas, food, souvenirs, or just a break from the car. In his 1946 “A Guide Book to Highway 66” Jack D. Rittenhouse noted that the Continental Divide was “marked by a large sign” with “several establishments: The Top O’ The World Hotel and Cafe, Great Divide Trading Company, and the Continental Trading Post and Grocery.” Today, only a few of these establishments are still alive, poised against the backdrop of the spectacular red sandstone escarpments, sporting colorful signs for Wholesale Fireworks, Blankets, Indian Dolls and other wares: Ortega’s Indian Market Continental Divide, the Indian Village Gift Shop, which also has a Phillips 66 gas station, and Top of the World Souvenir Gift Shop. These echoes of the past still prevail as testament to a much beloved and historic period in time. A historical marker announces the elevation at 7,295 feet and the point where rain falling to the west, flows to the Pacific Ocean, to the east, into the Atlantic Ocean. New Mexico’s Continental Divide contains a rich history and, thanks to travelers passing through, will likely continue to thrive in the home of its cultural roots.
Illustration by Chandler O’Leary.
THE G R E AT DI V I DE
E X PLOR E GR A N TS! On the longest drivable stretch of Route 66 in New Mexico!
There is plenty for everyone to see and do in Grants, NM. Cruise, Camp, Hike, Sightsee, Stargaze, Eat, Enjoy, Shop and Stay a while. Experiences here are authentic, from our diverse cultures and distinctive landscapes found nowhere else, to the people who are warmhearted and sincere.
www.cityofgrants.net • 505.287.4802 @ExploreGrants ROUTE Magazine 21
JOPLIN 22 ROUTE Magazine
FAMOUS By Raymond Joseph Photographs by David J. Schwartz - Pics On Route 66 ROUTE Magazine 23
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hen it comes to dining along the Main Street of America, many travelers conjure images of diners and cafes of old, where comfort food is served with a side of small-town friendly, and parking lots are dotted with classic cars. It’s all a slice of the pot roast that we call Yesterday, and it is a big part of the allure of the Mother Road. After all, nostalgic yearnings are a key aspect of any Route 66 adventure. However, along with the numerous iconic eateries that call Route 66 home, there are many other fine places to dine along this ribbon of pavement that deviate from that wistful ideal. Men and women cannot dine on cheeseburgers, fries, and milkshakes alone! Pizza, though, fits the bill perfectly, and Woody’s Wood-Fire Pizza Bar & Oven in Joplin, Missouri, is the perfect deviation from that sleepy old diner rut. Located on a parcel of land that has played a big role in Joplin’s Route 66 history with not one, but four different tenants and multiple owners, Woody’s has become a culinary landmark for locals and a major part of Joplin’s draw for diners looking for a kitschier but quality experience.
Looking Back The road heading west out of Joplin has held on to its Route 66 status from the beginning. While other parts of the city saw multiple alignments of 66 through the years, gaining and losing that badge over time, 7th Street has remained constant. It is an area leading beyond the downtown district, first into a commercial district, and then suburban housing, before finally giving way into the forested country. It was in the late-1950s that Pat’s Dari-Delite opened at 1831 W. 7th. Joplin’s population was about 39,000 at the time, having grown steadily since the turn of the century and car culture had taken root across the nation. Car-centric establishments — like a drive-up ice cream shop with adjacent parking — were a hot ticket. It was basically the McDonald’s of ice cream, and very popular among locals. The building was tiny, but that did not matter, since there was no indoor dining. Food was intended to be consumed curbside or in cars. While the name “Dari-Delite” may signal a generic franchise, it was anything but, because Dari-Delite was actually in the equipment business, namely, the kind that dispenses ice cream. Headquartered in East Moline, Illinois, it had advertised in the Joplin newspaper in 1952 looking for an independent ice cream shop to purchase its equipment, and thereby be allowed to use the Dari-Delite name. It turned out that many folks were interested. There would become dozens of Dari-Delites across the nation, yet all were independent of one another. Pat’s hung on for about 25 years, but in 1982, the building became home to Charley Flowers Package Liquor. It was about this time that Charley installed a pole sign that has 24 ROUTE Magazine
become iconic on Joplin’s west side and has been adapted as new owners have come along. From top of the sign to where the pole meets the pavement is more than 20 feet, and atop that pole was a large liquor bottle. It was programmatic signage at its finest, since the liquor bottle communicated what was being sold there without the help of any words. Later, Charley Flowers sold his shop to Sultan of Smoke, which is not what it sounds like (a tobacconist) but rather a barbecue restaurant. The eatery ultimately moved six blocks east to larger digs, paving the way for a new tenant — Woody’s.
From Pizza to Pop Culture In 1999, Pete Williams and Steve Ritter hatched a plan to open a Happy Hour bar that also served food. Think cocktails with a little pizza in a place called Woody’s. Together, they saw an opportunity to do something different in Joplin. However, as strategic and well crafted as their plan was, the tables were flipped pretty early on by customers who came for the pizza instead. That bar quickly morphed into a wood-fire pizza outlet and attracted patrons in droves. Oh, and that old liquor bottle? They had it painted with the familiar Coca-Cola logo, a replica of the tiny 8-ounce bottles for which the company was renown. It may not be as programmatic as it once was, if only because pizza is not bottle-shaped, but it does convey who supplies their soft drink line-up. At the center of the business was an Italian hearth oven, fueled by Missouri red oak and white oak, imbuing the pizza with earthy tones that captivated diners. It was a far cry from the bland sauce-laden crusts offered by national chains who scarcely knew what the word pizza meant in the first place. No, this was good, an American twist on a Napolitano original. Guests felt like they had experienced something truly unique, and they kept coming. Woody’s was often lauded as being the smallest restaurant on Route 66 in Joplin, thanks to a tiny space with few tables, not to mention the huge centerpiece oven. None of this seemed to hurt it, though. Folks were happy to wait. An open-air patio in the back helped ease crowding during the summer months, but was of little help during Joplin’s long, cold winters. But change was on the horizon. In 2004, in a move that was to hugely impact the future of the eatery, Williams bought out Ritter, opening the door for a new partner — businesswise and personally. Heidi Howe had closed her franchise, The Great American Bagel Shop, and quickly came on board to manage Woody’s. Williams had remained on board throughout his run with Woody’s, juggling ownership and management, and the pair soon fell in love and married. The business took off under Heidi’s leadership. Apparently, bagels and pizza have a lot in common. Not long after Howe had put her mark on Woody’s, she learned of a celebrity in town. The late Anthony Bourdain, of “No Reservations” and numerous books fame, was in town filming an episode at Rumors, a nearby establishment. Heidi convinced the producers to come over to Woody’s after taping to sample some pizza. So impressed was Bourdain that he told the owners that he was eating “world-class crust.” He then proceeded to shoot more of his show at Woody’s, although that portion wound up on the cutting-room floor. Bourdain was attracted not just to the food, but also the staff and — most importantly — the oven. It is used not just
for menu mainstay pizza, but everything else, from sandwiches to wings and stuffed veggies. Without the oven, Woody’s just wouldn’t be Woody’s.
After the Fire Everything ground to a halt in 2019 when a fire struck Woody’s. Instantly, an iconic business was cast into an unwitting purgatory, their tiny seating area and food prep area reduced to rubble and ashes. Every last table, chair, and even the oven was gone. “Oddly enough, it wasn’t a fire from the oven. It was an electrical issue,” said Damien Tiregol, Damien Tiregol at the pizza oven. current owner of Woody’s. “That building was just so old. When they opened back up in 2020, they expanded their and Heidi to just step back. Her four decades in food service, footprint by double.” plus Pete’s for 23 years, had left them rightfully weary. But And, as Tiregol noted, like the mythical Phoenix, Woody’s thankfully, the transition to new ownership has been a perfect rose again. The fire presented an unexpected opportunity to fit. Tiregol had long considered Woody’s his favorite pizza, so fix the capacity issues imposed by the original design. Given getting to own and run it was like a dream come true. It’s a their location on a large commercial lot, there was space privilege that he has taken to heart, and he has doubled down available to build back bigger. The curse of the fire turned into on both maintaining the original quality of Woody’s pies, but a blessing in disguise. also innovating in his own right. Following the uncertainties that occurred in 2020, the “People eat with every sense when they walk into a Williams — both in their 60s — started thinking of their exit. restaurant. When you walk into Woody’s, you get that Overseeing new construction was taxing, and difficulties in smokehouse smell. You can feel the heat,” Tiregol continued. getting it done amid supply chain issues was frustrating, but “Woody’s hits on all of your senses. And then you eat the they managed, greatly expanding upon the size of the original pizza… it’s so good because of that wood fire and high-heat structure of the former building to seat 60 and increasing the cooking. It brings out flavors that you wouldn’t normally get.” area of the seasonal patio. No longer do customers have to Tiregol maintains a balancing act among his pizza die-hards, wait an hour or more for a table. And now having two ovens who want pizza prepared as traditionally as possible, and the allows Woody’s to accommodate the increased numbers. innovators and curious, those willing to take chances and try By 2022, the stresses of those two years prompted the new combinations of ingredients. “Pizza is very subjective. couple to begin looking for the next owner; retirement from People eat what they really like,” he continued. “Whether it is the restaurant business beckoned. For Williams, he had just a basic pie that abides by unwritten rules of pizza purity, burned the midnight oil with the restaurant for more than or loaded with pineapples, sriracha, white sauce, or whatever two decades. As for Howe, some 40 years of food service crazy ingredient can be found in the kitchen, it all boils down management had left her weary. They found new blood in to the crust and the ovens.” Damien Tiregol, a local restaurateur with two other eateries on Route 66. Tiregol completed his purchase in July of the I’ll Be Dining In, Please same year and has not looked back. Woody’s may not be “old” in the truest of Route 66 A couple of decades earlier, Tiregol had worked at a Joplin typologies, but it does sit curbside to where all the action restaurant owned by Howe’s mother. “This is how I had was — and is — these days, as folks motor west out of Joplin gotten to know Pete and Heidi in the first place,” Tiregol toward Kansas. Its location on West 7th Street is legitimate recollected, and they became friends. Joplin still being a Joplin Route 66. relatively small city, they had increasingly become aware of Some things have changed throughout the years. Buildings his prowess as owner of Crabby’s (a seafood bar and grill) come and buildings go, and growth, of course, has happened. and the Blackstone (a gastropub). “After about a year of But Woody’s still keeps that vibe as a place where locals come dealing with the new restaurant world, it kind of got to where for good times, and travelers come to get a taste of Joplin. they felt it was time for somebody else to take over. I was the More importantly, it’s where Joplin locals and Mother Road first person they called,” Tiregol, 40 and a culinary school travelers can still stop for a slice of authentic road food. graduate, noted. Right beneath that towering bottle of Coca-Cola. The Williams then retired from the restaurant business, Pete to continue working the day job he had been doing all along, ROUTE Magazine 25
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ne of America’s most notable junctions sits in the quaint Mother Road town of Carthage, Missouri. Here, U.S. 71, or the Jefferson Highway, going north to south, intersected with U.S. Route 66, running east to west, at what is now Garrison Avenue and West Central Avenue. At the height of American road travel, this significant corner, often referred to as the ‘Crossroads of America’ was witness to hundreds of automobiles driving in all directions, every day. Over the ensuing years, traffic slowed down with the introduction of interstate highways and the intersection became quiet, mainly serving the local community. Skip several years later, and this well-known crossing is primed to become a focal point for travelers once again. In 1939, local Arthur Boots decided to build a Streamline Moderne style, four-room motel, with carports, on the convergence of Garrison and Central and christened it Boots Court. His goal was to take advantage of the increasing motoring public brought by Route 66. As travelers pulled up to the intersection, the piece of midcentury roadside architecture loomed into view. At night, its neon green lights cast an incandescent glow on the corner. The motel thrived, expanding to eight rooms, and an additional building with five rooms was added in 1946 under new owners. But as with most local businesses, the motel struggled with deterioration and closures over the ensuing years. Fast forward over eight decades later, through several ownerships, seasons of disrepair, an escape from the wrecking ball, and partial restoration during the 2000s, this iconic motel now has a revitalized lease on life, stepping boldly into its rightful place as one of the oldest motels on Historic Route 66. In August 2021, the Boots Court Foundation purchased the historic motel, and over the last 15 months, has painstakingly renovated the motel, replacing the roof, sandblasting the outside of the building, and reinstating rooms. In 2022, Boots Court was finally added to the National Register of Historic Places and reopened for the first time in decades, with the full capacity of 13 rooms, stocked with 1940s splendor. 26 ROUTE Magazine
With acquiring the motel, the foundation also purchased additional properties around the area, including a former Sinclair gas station that sat adjacent to the little venue. The station has been converted into the Boots Court office and Route 66 Visitor Center. It will not only serve as a guest checkin venue and a Carthage and Route 66 information center, but it will also bring a strong sense of community back to the famed corner. “I believe it was seen as a good way to take something that was not being used, and turn it into something positive, attractive, and useful on our limited stretch of Route 66,” said Kim Bausinger, former manager of Boots Court motel. Information on the history of the Sinclair station is scarce, but what is known is that it was built sometime between 1955 and 1956. Prior to the Foundation procuring it, the station had mostly gathered dust as it shuffled between owners. “It’s been vacant, or had various businesses rent it out for a few months and then moved on,” said Bausinger. “It’s probably most consistently had various food trucks out in front over the last several years. The building has also been used for storage.” The main focus of the restoration on the station’s outside was stucco repair and building the carport canopy out front, with plumbing, drywall, painting, and flooring being a priority inside. Plans are also to have green neon lights to match the aesthetic of the Boots Court. The opportunity for the building to be useful for other purposes is also being explored. “The back of the visitors center has high horizontal windows, leaving a big white wall I could see watching old black and white movies with our guests projected on that big white [space]. Like on the nights when the drive-in movie theater isn’t open,” said Bausinger. With the historic Boots Court restored to its original grandeur, and the Sinclair gas station being revived, not to serve gas but memories, this corner of the Mother Road is about to begin a second life; yet another reason for people traveling through to stop and visit for a while and see what America and the Midwest really is all about.
Photograph by Jeremy Morris.
At the Crossroads of America
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TULSA’S HIGH SO By Cheryl Eichar Jett Photographs by Efren Lopez/Route66Images 28 ROUTE Magazine
OCIETY HANGOUT ROUTE Magazine 29
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t the turn of the 20th Century, the frontier city of Tulsa lay under the bright summer sun and the chill prairie winds, almost — but not quite — sleeping. Home to 1,390 people and a railroad station, it was an assortment of frame buildings and dusty streets with the air of a cowboy town, which, after all, it was, since the Creek had arrived in the 1830s, made a treaty with the Cherokee, and began raising cattle. But Tulsa seemed to be waiting for something — something like a gusher from under the red earth and the clank and whirr of an oil rig — to awaken it. And awaken it did. The following year, “Black Gold” was discovered, and the boom began. Within a quarter of a century, the Mayo family launched a sophisticated and luxurious hotel which became the symbol of Tulsa prosperity and hospitality for 50 years. Then, an oil bust ended the boom, and the Mayo Hotel became just one more casualty as it passed from investor to investor. Until, that is, the Snyder family rescued it and brought it back to life with an incredible restoration.
Amid the Oil Boom, the Mayo Rises In 1901, oil was discovered at the railhead community called Red Fork just southwest of Tulsa, resulting in the first oil well in Tulsa County. Four years later and a dozen miles south of Red Fork, more oil was found at Glenpool. Investors and wildcatters flocked to the Tulsa area, creating a demand for housing and services and ushering in a long period of population growth and prosperity. Oklahoma shed its “territory” moniker and became a U.S. state (the 46th) in 1907. And as more and more stores and services opened to serve the variety of people flooding in from all over, downtown Tulsa began to shed its frontier appearance. Amidst one of the largest booms in American history, the Mayo brothers arrived in town. John came in from Texas, armed with real estate experience. Cass came straight off the family farm in Randolph County, Missouri. Joining forces, they operated a furniture business which moved more than once to a larger location until, in 1908, they built their own five-story office building with a ground-level space for the furniture business. This was the first major real estate venture in Tulsa’s burgeoning downtown business district. (Today, this building thrives as the ten-story Mayo 420 at the intersection of West Fifth and South Main. Here, one now finds upscale residences, a restaurant, and a YMCA.) But as their real estate portfolio grew, the brothers embarked on the project that would practically become synonymous with Tulsa — the Mayo Hotel. Cass and John hired architect George Winkler, who had designed their building at Fifth and Main, to lay out the plans for a Sullivanesque, Art Deco style hotel. The emphasis was on quality and detail, and in 1925 the fourteen-floor, 600-room 30 ROUTE Magazine
hotel was constructed at 115 West Fifth Street; at the time, it was the tallest building in Oklahoma. And the pride in the quality reputation of the Mayo Hotel extended to the City of Tulsa itself. Within the minds of proud Tulsans and of their most distinguished visitors, the Mayo represented the city’s wealth and hospitality, and the genteel class that had developed during the boom.
The Stars Come Out in Downtown Tulsa The Mayo Hotel rose in height and stature during Tulsa’s second oil boom, when more oil was discovered and the population shot up to over 70,000, with many new arrivals who came from New York, Pennsylvania, and Ohio. The arts began to flourish and cultural institutions and parks were established. Ornate mansions were built by wealthy oilmen such as J. Paul Getty, William G. Skelly, and Waite Phillips, who eventually donated his Italianate-style home “Philbrook” to the city for use as an art museum. And the Mayo brothers’ part in their adopted city grew to include their involvement and philanthropy in Tulsa’s infrastructure improvements and cultural and educational institutions. No one who knew anything about the city would have been able to imagine its progress without the Mayos. The Mayo Hotel’s terracotta facade and Doric columns gave the exterior the classical elegance the brothers had sought; the structure could have been the Parthenon itself in its contrast with the city’s older buildings. Inside the Mayo, no expense was spared and no detail overlooked, as the venue boasted running ice water, a ceiling fan in each room, and an opulent lobby that attracted high society and the city’s most distinguished and famous visitors. Cass and John’s ambitious plan did not disappoint, as the Mayo became the center point of Tulsa high society, hosting elaborate weddings, receptions, fashion shows, galas, and its signature champagne brunches and martini lunches. Those notables who came to see and be seen over its first halfcentury included Charles Lindbergh, Charlie Chaplin, Babe Ruth, Bob Hope, Elvis Presley, Lucille Ball, and Presidents Harry Truman and John F. Kennedy.
Oil Bust and Vacancy But it was all too good to last, even though Tulsa, the Oil Capital of the World, had not suffered as drastically through the Great Depression and a period of urban renewal as most Midwestern cities had. However, it was not invincible, although an assumption that it was could probably be counted as one of the factors of the 1980s “oil bust.” Other reasons attributed to the slide included an oil glut, less competency in the oil business than early businessmen like Phillips and Skelly had, the establishment of OPEC, inflated oil prices, and unwise drilling ventures. Whatever the reasons, the effect on Tulsa and Tulsans was swift and disastrous. Unemployment and vacancies ensued, and the title of “Oil Capital of the World” soon went to Houston, Texas. The Mayo Hotel itself had declined somewhat in the years leading up to the oil bust, with the Mayo family selling the hotel in 1968 to Fairmont Hotels, which renamed it the Fairmont Mayo Hotel. A decade later, Fairmont sold the property to Gateway Hotel Corp. There were two small wins during the decline: Gateway restored the hotel’s original
The grand lobby of the Mayo Hotel.
name, and in 1980 the Mayo was placed on the National Register of Historic Places — although it would nearly be lost anyway. In January 1981, Daon Corp. bought the hotel for $4.6 million as they announced their plans for a 12 to 14-month renovation. Immediately, they closed the hotel, laid off the staff, and sold the fittings. By December, the company had gutted the interior and just as quickly put the property up for sale. In succeeding years, as the oil bust turned Tulsa’s once-proud downtown into a ghost town, the Mayo did not escape the spreading gloom and the building’s invasion of stray animals, people, filth, and mold. The one remarkable thing is that somehow the Mayo did not meet up with the wrecking ball during its long sleep. But changing ownership and failed renovation attempts didn’t save the landmark from an unbelievable almost 30 years of vacancy and decay. During that long downward slide, in 1995, architectural and engineering partners Joel Slaughter and Paul Rose entered the building to assess its condition. “It had rained, and water was dripping from the plaster and there were holes in the walls. And all the floors were covered with debris and just trash,” Slaughter said. “When they built the stairs [in the unfinished renovation], they just blew a hole all the way through the building in multiple places, but we were able to walk up. It was just horrible. The ceiling is about 22 feet in the air and a lot of the plaster had fallen down on the floor, and actually the ceiling had caved in to a point where some of the roof membrane was hanging down in the space way up there, and the pigeon droppings were probably six feet tall. I don’t know if it’s stalactites or -mites, but they were sixfeet-tall cones hanging.”
John Snyder Gets a Bargain A chance meeting in 2001 between Manhattan Construction Company manager John Snyder and Bruce Robson, one of the several Mayo owners at that time, resulted in the saving, restoration, and reopening of the once famed hotel. Robson told Snyder that they were done with the property. A bond issue which would have issued incentive packages for developers had failed to pass — and it was the last straw for the partners. “You got a dollar?” Robson asked Snyder, who produced a dollar bill. The next morning, Robson brought Snyder the keys. Mayo LLC was formed with the principals: retired United States Air Force Major Charles Snyder and three of his sons, John, James, and Charles. They not only purchased the Mayo for one dollar, but also bought an adjoining parking lot for $250,000. “I thought we were crazy, because downtown Tulsa was completely dead,” said Macy Snyder-Amatucci, one of John Snyder’s daughters and an executive at the Mayo. “We didn’t have a plan on what to do with it. Obviously, there wasn’t a need for much in downtown Tulsa. No one was coming down here.” Eventually, Joel Slaughter entered the scene again, hired this time, along with his architectural/engineering business partner Paul Rose, by John Snyder to begin working on the 300,000-square-foot hotel in phases. “John said, ‘Let’s go,’ and we did the architecture, engineering, and construction management in tandem with him. I think we did the whole thing in about 18 months. The drawings were done in six months, the permit took two months, and the construction took about nine months,” said ROUTE Magazine 31
Ballroom chandeliers with the building, but they were on the ballroom floor, they had fallen. So we told her that we would hang those in the lobby for her and we would build two bathroom stalls. And that was it. Her wedding was thankfully in October, so she didn’t need heat. We started an event business and did events in the lobby from 2001 to 2007. Basically, we would rent it out and they would come in and do everything else.” During Phase 3, everything above the lobby had to be built and appointed anew, because the second through fifteenth floors had been gutted. But one perk from the destruction was the permission from the National Park Service and the State Historic Preservation Office to the National Register, to change the layout, since the remains of the original plan were minimal. “When Vision 2025 was passed, there was downtown housing funds available. We applied and received $4.7 million to do the 76 residential units,” said Macy. “At that time, we didn’t have a plan to do a hotel because we didn’t feel there was a need yet in Tulsa for that. Then when they announced that the BOK Center was going to be built in such close proximity to us, we decided we’d just renovate the whole building — we’d do mixed use with luxury apartments on top and the hotel on the bottom. That was in 2007, and we opened September 15th of 2009.” Phase 4 was the Crystal Ballroom, which was restored at the same time as all the upper floor rooms, altogether totaling a $42 million renovation. Much excitement and publicity was generated as the Mayo was prepared to take its spot again as the center of Tulsa social life — as indeed it did, including hosting the Governor’s Ball.
Tulsa and the Mayo Rise Again
Macy Snyder-Amatucci.
Slaughter. “And then on their side, they had a couple of guys that would come in and do some work, but I really think it’s a testament to John that he hired the good contractors that he assigned to us, and I think the contractors really wanted to be a part of it.” Snyder knew they’d have to quickly figure out a way to start making some money off of the old landmark. He came up with a plan for turning the basement into a 40-space parking garage to generate income to help fund the next restoration phase, and he and Slaughter went down to look at the basement. “The basement was worse [than the rest of it],” Slaughter said. “We went down to the landing and the last four stairs had been taken off and they had put a lot of trash down there. And it was full of water.” As the Mayo project took off, Macy had just graduated from the University of Oklahoma and began to work the management aspect. Once revenue was coming in from the garage, Snyder turned to the once-exquisite lobby. “We had a local Tulsa girl track us down. She wanted to do her wedding in the lobby and we said, ‘Well, have you seen it?’” quipped Macy. “We did get the original Crystal 32 ROUTE Magazine
As the renovations to the Mayo restored its elegant luster to the point of opening in 2009, it became a jewel in an otherwise blighted downtown. But slowly, the downtown district itself began an enthusiastic revitalization as Tulsans realized what they’d already lost and what still could be lost, if they didn’t turn the tide. In 2003, the Vision 2025 program passed to increase Tulsa County’s sales tax rate to fund improvements and provide development incentives. Meanwhile, the progress on the Mayo bolstered the determined efforts of the downtown revitalization supporters, and the Mayo provided a place for those who once again wanted to live downtown. Tulsa definitely isn’t sleepy these days, and neither is it suffering from a bust. Culture and the arts, tourism, and Route 66 tourism specifically, has been on the rise. The Mayo Hotel isn’t the tallest building in Oklahoma anymore, but happily, it still stands proudly in Tulsa’s revitalized downtown. Thanks to the Snyder family, who realized and respected what the Mayo family had achieved, it’s still an iconic part of Tulsa’s Art Deco legacy and will celebrate its 100-year anniversary in 2025. “Tulsa has come a long way since the early ‘80s. When we purchased the Mayo, we were the only thing, there was nothing [else] down here. It was a completely desolate area and it definitely wasn’t an area that you wanted to be in. Things have changed so drastically and it’s just so awesome to see the impact of all the things going on,” said Macy. “It’s really exciting to come here every day and think about all the history and memories that people have made here, and to know that that’s still continuing today.”
persimmonhillstore.com ROUTE Magazine 33
WHAT’S IN
Photographs and Words by Jim Luning 34 ROUTE Magazine
A NAME?
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Y
ou would have a really hard time counting all the various items that have a Route 66 logo slapped on them. Everything imaginable has probably had that famous numbered shield printed, silkscreened, embroidered, engraved, or carved into it in order to be irresistibly marketable. However, curiously, there are barely a handful of things that you can buy to eat or drink that have Route 66 branding and only one that has “Blu Razzberri” and “Route 66 Route Beer.” One company recognized the opportunity or, perhaps, the need! One day, Larry Tarantolo, a Cicero, Illinois, native, and beverage entrepreneur who had a lifelong connection and fascination with Route 66 and soda pop, decided to create some sodas that reminded him of his childhood and the soda shops along the historic highway. His day job was creating and marketing beverages for various clients, but luckily for him, some time earlier, he had become friends with Ron Filberts, a fourth-generation soda producer whose family had started Filberts Soda Co. in 1926, the same year Route 66 was designated. He reached out to his friend who connected him with some experts in the field and Tarantolo got to work. To start, his efforts resulted in three unique flavors: Route 66 Route Beer, Lucky 66 Lime Soda, and Lucky 66 Orange Soda. The year was 1996 and Route 66 Soda was born. Tarantolo worked hard to market his new product, slowly getting into stores and onto shelves. One of his best customers at the time was a small Route 66 themed gift shop on historic Water Street, in Wilmington, Illinois. Tarantolo subscribed to the “build it then sell it” philosophy of entrepreneurship and shortly after creating the three original flavors and getting the sodas into some stores, he was ready to sell and move onto other opportunities. This is when he approached the gift shop owner, Scott Cameron, about the possibility of him buying the rights and intellectual property of the company.
Birth of a Brand Scott Cameron, a son of Wisconsin, had carved out a career as a Blues music agent and had worked contracts for a number of Detroit Motown artists, such as Muddy Waters, Howlin Wolf Burnett, Buddy Guy, and the like. Cameron was able to get his artists the royalties that they deserved and helped negotiate new contracts for many others. He had a head for business. Yet, as much as he loved music, he also had a true passion for America’s Main Street. This is what finally carried him to Wilmington, home of the Gemini Giant and the iconic Launching Pad, and inspired him to open his store. When Cameron arrived in the South West suburban Chicago area, he was still working with Blues artists, writing, rewriting contracts, and recovering royalties. There he hired Alan Bruggeman, a lawyer in the nearby small 36 ROUTE Magazine
town of Mokena, to be a local legal partner, someone with expertise to aid in reviewing contracts in order to ensure binding and proper verbiage. “When he (Cameron) came to this area, he contacted me, and I represented him in his capacity as an agent for the artists that he wrote contracts for and got contracts for. A lot of artists had been signing contracts when they didn’t know what they were doing, and they weren’t getting all of their royalties, so that was Scott’s position. He got royalties for them. I think he met Larry [Tarantolo] when he moved to Wilmington. He moved to Wilmington and opened a shop on Water Street, selling Route 66 memorabilia. He carried Larry’s Route 66 sodas, and that’s how they knew each other,” said Bruggeman. All within one year — 1996 — the original three flavors of Route 66 soda were developed and produced, and the opportunity to purchase the rights had become available. Scott Cameron consulted his lawyer, Alan Bruggeman, about the contracts that would be involved with the purchase. He also inquired if Bruggeman knew any other investors who may be interested in going in on the opportunity with him. He did. Bruggeman himself was interested and facilitated a number of other clients and friends who wanted to be involved. In the end, they had what they believed the company would require in order to be successful. There was a marketing person, someone with a warehouse, a lawyer, someone to do logistics, and a Route 66 enthusiast. A total of eight initial investors signed on, with Scott Cameron as the President. This new company was now incorporated as Route 66 Sodas LLC. Over the next couple of years, the focus was refining production and increasing distribution. First on that list was the bottles. When the company was purchased, the bottles all had paper glued on labels. The problem arose with shops putting the soda in an ice filled cooler or bucket of ice water and the labels would simply melt off when they got wet. The next option was to use a more permanent plastic label, but these found the same fate. Over time, the labels started slipping off. As any beverage drinker will tell you, a huge part of the fun of buying a Route 66 soda is having that empty logoed bottle as a souvenir. So this was a big problem. “We came out with the plastic label. I’m thinking we could cut our inventory of bottles, have labels inventoried, which are a lot easier to store and ship, and get to where they need to be. But people complained about the plastic labels,” said Bruggeman. “They were slipping off the bottles too. You could still tell it was lime or orange or whatever, but people wanted the labels on the bottle as a souvenir.” The two-part solution was to standardize the bottle size to a heritage sized flint bottle, made in Laredo, Texas, and then use an etching and painting labeling process. The bottles are etched with the designs and then shipped to Mexico to have the white or color paint baked on. Six of the seven available flavors have their own artist created illustrations of Route 66 themes and icons and a bio. Route 66 Route Beer however is the only one with the classic ingredients listed on
Alan Bruggeman and Laura Golden.
the bottle. Lime Soda has the Chain of Rocks Bridge, Cream Soda has “Ghost Towns”, Black Cherry has “Cabins, Motor Courts, and Motels”, Grape Soda has Chicago’s Buckingham Fountain, Orange Soda has “Deadman’s Curve”, and Blu Razzberri has “The Blue Whale of Catoosa”. Cameron split his time between his shop in Wilmington and driving the scenic stretches of Route 66 in Illinois and Missouri, making deliveries of his soda, and meeting other business owners and travelers as he went. As time went on, he became more and more involved in Mother Road preservation and invested energy into the various state-based Route 66 associations, solidifying his presence and tasty products along the highway. Through his active involvement, Cameron developed a love for another Route 66 town, Lebanon, Missouri. He believed that Lebanon offered a higher trafficked area and that the historic town, home to the iconic Munger Moss Motel, would be a great spot to expand his investment on the highway. In the mid-2010s, Cameron opened Mr. C’s Route Post, right along Old Route 66, and of course, Lebanon also became the new home base for Route 66 Sodas LLC.
Big Changes in the Company However, none of us can control our fate and on February 19, 2015, Scott Cameron passed away unexpectedly in
Missouri. He had been both the face and the day-to-day caretaker of the Route 66 Sodas brand. His death hit the company hard, but decisions needed to be made in order for the brand to survive. Alan Bruggeman and Laura Golden, the office manager at Bruggeman’s law firm and one of the initial investors, stepped up and took over the day-to-day operations of the beverage company. They also moved the headquarters to Mokena where it shares a small space at the Bruggeman, Hurst & Associates law firm. Now on a daily basis, all website orders are filled from a small room off to the side that’s stacked with Route 66 Soda cases and shipping materials. Up until that point Bruggeman and Golden had been essentially silent partners, with Cameron tending to most of the daily operations. “As his attorney, I knew that he was ill, but I didn’t know that he was dying. Then when he died, I reached out to his son and asked if he was going to keep the store in Missouri, and if he wanted to take Scott’s ownership interest in the company. Scott was married at the time and neither his wife nor his son wanted the stock. So, we bought it from him, and then started running the company,” said Bruggeman. Today, Route 66 Sodas LLC occupies a significant portion of Laura Golden’s week, running logistics for larger shipments that come out of the Illinois warehouse, reorders of bottling supplies, internet sales, and manning all the company’s social media. Luckily, much of the physical ROUTE Magazine 37
mechanics of running the beverage company happens remotely. The soda is bottled in downstate Illinois and New Mexico, then distributors ship it all over the country, and occasionally the world. There have been many lessons learned as Bruggeman and Golden have taken the reins and jumped in to head up a soda company. Managing a law office and shipping truck loads of soda have few similarities. “We jumped in full-fledged, I mean, literally jumped in, and it was a learning experience for me, because I do all the day-to-day stuff,” said Golden. “Since Scott’s death, we’ve introduced two new flavors, the Grape and the Blu Razzberri. We get requests all the time for new flavors, strawberry cream and an orange cream are the two most popular requests. We actually had one customer that contributed to the development of the black cherry because he wanted a black cherry. So, we gave him some creativity on the way the black cherry tasted, and it’s a great black cherry, very distinct. To get things started, I call our chemist and say, ‘I’d like a flavor.’ He’ll send several general samples of the flavor I’m asking for in syrup form, and we’ll pick one and start tweaking it from there,” she continued. “You have to pick the sweetness, how much sugar, the ratio of carbonated water to syrup, the color, the amount of foam it will have, how strong each of those will be... It’s a long process to get to a final flavor, and we have to know what else is out there so that ours can be distinct.” 38 ROUTE Magazine
Route 66 has a way of drawing folks in, developing a connection and a passion for the highway’s history, culture, and people. These days, as proactive owners, Bruggeman and Golden, too, have begun to better understand the motivations that drove their friend and partner, Scott Cameron. “I was delivering pop and talking to the people at the history museum in Joliet, and this young Japanese man comes walking in and starts talking to us about Route 66,” said Bruggeman. “He had come to the United States and was walking Route 66 from California. I met him when he was in Joliet on his way to finish it on his way to Chicago. We’ve met with this guy from Czechoslovakia who rides a bicycle, he comes over and does tours with people, and they do it on a bicycle!” continued Bruggeman. It is fascinating how not only has the flavorful brand of soda become influential on Route 66, but how Route 66 has in kind, hugely influenced the owners of the Route 66 Sodas brand. It has been 27 years since Larry Tarantolo had a vision of combining the Great American road trip and his passion for soda. Much has changed in the world since then, but one thing has remained the same: our love of enjoying an ice-cold soda when out on the open road. While many products that attempt to take advantage of the familiarity of the name Route 66 have come and gone, it seems that Route 66 Sodas is very much here to stay.
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CROSSING THE Photograph by David J. Schwartz - Pics On Route 66 40 ROUTE Magazine
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raversing down the rollercoaster highway of Route 66, travelers discover that at the root of every city is a web of interwoven stories spanning history. Sheltered within the rugged rural woodland of the Ozarks of Pulaski County, in the historic town of Waynesville, Missouri, stories act as the glue binding the community together. But a story is only as good as the storyteller; to be remembered, it needs to be shared. And no monument is more befitting to carry this time-honored tradition to travelers than Roubidoux Bridge. Until the 1920s, when automobiles became a growing trend for transportation throughout the country, a bridge was not generally considered necessary within the small towns of Middle America. However, back then, traveling from one place to another, forced to contend with the flowing rivers and rutted dirt trails snaking through Pulaski County, was a different story. Whereas modern technology leads motorists across winding paved roads to destinations that could take less than a few hours, in the early 20th Century, travel was a costheavy venture that took days, maybe even weeks. Not only that, but automobiles were also still a rarity, and most of the roads were in poor condition. On August 21, 1909, an open-aired cockpit Metz, driven by Edmund Creecy, the then-chief of police from St. Louis, rolled through Waynesville. Though the 133-mile trip took three days — and he busted an axle on a tree stump lodged in the middle of the trail — the Metz was the first automobile to grace the town’s borders. And, with the arrival of the first vehicle, more were bound to come — all they needed was a bit of help. Thanks to Henry Ford’s assembly line reducing the cost and labor of making automobiles accessible to the broader market in 1913, more and more people were taking their fresh new rides to the open roads. Though there was a way to travel through Waynesville — a steel truss bridge built over the river in 1911 — the crossing was outdated and narrow. Simply said, it was in desperate need of an upgrade. “Road construction and maintenance at the time was the responsibility of the counties in Missouri. Poor counties had poor roads,” explained Terry Primas, a local Waynesville historian. “The construction of [the Roubidoux Bridge] was the result of landmark legislative action and a county highway engineer’s effort. Meanwhile, automobile drivers clamored for better roads, spawning the Good Roads Movement, with regional groups holding conventions and lobbying legislators.” Through the dedication of George Marcellus Reed, Pulaski County’s special project highway engineer, and the Centennial Road Law of 1921, preparations were made toward straightening and designing Highway 14 — realigned from the old steel bridge one-hundred yards downstream and renamed Route 66 in 1926 — and later, building a new bridge across the Roubidoux. As part of the momentum carried over by the road improvement project, by 1923, the Roubidoux Bridge was
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constructed. Assembled by Koss Construction Company for $44,035, the bridge spanned 416 feet long and was built from concrete with a gravel surface, making it more durable and less corrosive than the usual wood and steel. They also added spandrel arches, a feature which added to the scenic river weaving beneath — inspiring thousands of motorists driving along Route 66 to pause beside the rippling riverbank to snap pictures. “I do believe it is one of only three spandrel bridges in the whole country,” said Luge Hardman, the former mayor of Waynesville and member of the Missouri Route 66 Board of Directors. “They don’t build them like that anymore. It was a different era.” Three years later, to mark the special occasion of the route’s birth, essential changes were enacted. “Route 66 was realigned when they built the bridge,” said Hardman. “They moved [the route] five hundred yards to the south. Route 66 was becoming a popular travel route; it was becoming the first transcontinental road that we had in America. So, more people were coming this way.” Yet, it was to be a surge in popularity that would lead to disruption. With the influx of travelers careening down America’s new main street, the honking cars and scraping rubber against stone pierced the air along the bridge. As is the case for all roads, the bridge was soon in sore need of repairs, not to mention space. To remedy this, in 1930, the crossing was paved with concrete through Pulaski County. Nine years later, the State Highway Department widened the bridge — which was originally around thirty inches or less — to include a sidewalk on the northern side to support passing pedestrians. “In reporting this improvement, the Crocker News stated that ‘this has long been a dangerous section of highway and when completed most of the hazards to person and property will be removed.’ Reportedly, a pedestrian fatality on the span had occurred three years earlier,” explained Primas. Unchanged and thriving as the town’s beloved symbol ever since, on April 1, 2023, a large crowd gathered beneath the bridge’s arches to celebrate its one-hundredth anniversary. “The army came and cleaned up around it; we put banners on it — it was just a special day,” recounted Hardman. “I wasn’t the mayor then, but I was involved with the planning of that event, and I was very pleased to be doing that.” In addition to beautifying the site, speakers were invited to share the bridge’s history within Waynesville, the high school marching band provided musical entertainment, and commemorative coins were offered as keepsakes after the ceremony. Despite its age, the bridge is still used today and its past preserved. “Local history should never be forgotten, and I think that the Roubidoux Bridge is one of the things we have in our community that [tell us] where we came from and what our history’s about. It connects so much to the history of today,” said Hardman fondly. Despite the changing times, Roubidoux Bridge remains a steadfast testimony to the stories surrounding local life and the well-trodden open road.
THE CHASE PARK PLAZA ROYAL SONESTA ST. LOUIS A historic, 100-year young Landmark Hotel located in the heart of St. Louis’ Central West End neighborhood. Often referred to as a “city within the city,” the hotel features three on-site restaurants, a 5-screen movie theater to enjoy new releases, outdoor heated swimming pool, 18,000+ square foot fitness center, barber shop, and so much more. Discover endless options for dining, shopping and entertainment within steps of the hotel. Across the street is Forest Park, home to three museums and the famous Saint Louis Zoo, all of which are free to enter. Additionally, you can find miles of jogging trails, golf courses, a seasonal ice skating rink, and The Muny amphitheater.
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TUCUMCARI’S
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CHEERLEADERS Photograph by Steve Loveless
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main draw. That was until 2020 when Tucumcari MainStreet assumed the responsibilities of the museum as a means of streamlining ownership. The museum’s board consisted of an older demographic who lived in every time zone across the United States, so managing the museum became difficult. It was deemed easier to hand the reins over to those who were literally working in the same building. In just over a year under Tucumcari MainStreet, attendance and income at the museum had quadrupled. “When we took over the museum board, it was only operating for very limited hours. We extended those hours Wednesday through Saturday from 10 to 4, year-round. We also began working with the city marketing firm to put more focus on Tucumcari’s museums and murals here in town.” The museum is a significant focus for the organization, but it is only part of their long-term vision. Through the Great Blocks on Main Street initiative, they’ve recently finished phase one of a restoration effort through cosmetic improvements of two whole blocks of the downtown area (Main Street to Aber Street). They are currently getting ready to submit grant applications for the second phase, which will be two more blocks along Main Street. While Loveland is clearly on top of all that is being done, there is still much to do, including being a key part of the board, the promotions committee, event planning, staffing, and writing grant applications. Fortunately, the organization averages about 75 to 100 volunteers annually. They also establish partnerships with businesses along the Mother Road and with Route 66 boosters. Before becoming the executive director, Loveland had previously served on MainStreet’s board and was chair of the promotions committee behind the annual Fired Up Festival, which regularly brings upwards of 3,000 people to town. When she became aware of the opening for the executive director position, she applied, seeing it as an incredible opportunity to continue the excellent work that Tucumcari MainStreet was doing. “We’ve [also] orchestrated historic walking tours. It is fun to see people who have lived here their whole lives say things like, ‘I didn’t know what that building was.’ Or ‘I didn’t know that happened here!’” said Loveland. Tucumcari’s history, in a big way, gives the town its character, and its aesthetic has given it some good press, but what makes the city so special is its people. “One of our town’s founding fathers was a rough rider for Teddy Roosevelt. He was actually the photographer that documented their time in Cuba. He also photographed thousands of Native Americans across the Southwest. There are so many wonderful people in this town, and they each have their own stories. I think of Tucumcari as a trackthrough-time town. There’s just such a storyline connection; the people here are what make it special.” It has often been said that Tucumcari is the quintessential Mother Road destination, the perfect stop to soak in some beautiful, vintage neon and historic vibes, but most people don’t think much about what it takes to maintain and promote these beloved destinations. It is people like Connie Loveland and her team at Tucumcari MainStreet that help keep the spirit of Tucumcari and Route 66 alive and kicking.
Words by Mitchell Brown.
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he Mother Road is chock-full of museums and attractions that celebrate the spirit of Americana, each one run by people who do it out of commemoration rather than for gain. These folks are the backbone, the literal energy behind capturing the character, soul, and past of their towns, in order to share it with others. Down in eastern New Mexico, is a town that offers a great example of this beautiful endeavour. In 1901, a railroad line between the Southern Pacific and the Chicago, Rock Island, and Pacific was completed, literally establishing the settlement that would become the Tucumcari we know of today. The first passenger train came through in 1902 and the town was officially christened Tucumcari in 1908. Then in 1926, U.S. Highway 66, was routed through Tucumcari, following Main Street through the downtown area. That same year, the Chicago Rock Island and Southern Pacific built a new Mission Revival style depot to meet the growing demands of rail travelers. Featuring red clay roof tiles, shaped parapets, and stucco walls, the grand depot was a source of great pride. However, by 1937, a new alignment of Route 66 was established seven blocks south of Main Street, bypassing the heart of the downtown area and taking away consumer traffic with it. Although this move ushered in the Tucumcari of Route 66’s heydays, of neon lights, gas stations, and motor courts on Route 66 Boulevard, it spelled the decline of the Main Street District. With the rise in automobile and air travel, rail service consistently diminished and by the late 1960s, the last passenger train through the Tucumcari Depot was discontinued. The station building began to deteriorate, going through a couple of ownerships until 1996 when the Union Pacific Railroad took possession of it and donated it to the City of Tucumcari in 2002. Today, Tucumcari is recognized as a destination that is “two blocks wide and two miles long.” However, size is irrelevant when it comes to character, and Tucumcari has plenty to spare, thanks to its colorful history and fascinating residents. With a key role in promoting tourism to the town, Tucumcari MainStreet, an economic development agency that is one of 29 Main Street communities in New Mexico under the state’s MainStreet organization, has been tasked with keeping the character and history of the town alive through constant restoration and revitalization. Their existence is a love letter to their town. Founded in 2007, the enthusiastic group signed a contract with the City and established a small office out of the town’s Masonic Lodge building. In 2011, they moved into the historic 1926 Tucumcari Rail Depot, a location that would become one of the organization’s first projects. “There was nothing in the depot, so we moved our office from Second Street to down here, so that there would be a presence in the building,” explained Connie Loveland, executive director of Tucumcari MainStreet. “Restoration is still ongoing, but there has been over two million dollars invested into it through private donations, grant money, and capital outlay.” By 2014, the depot became a museum, operating independently of MainStreet’s dealings, showcasing historical photos of Tucumcari, donated historical model trains, and even telegraph equipment, with the depot itself being the
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A CONVERSATION WITH
Rick Springfield By Brennen Matthews Photographs courtesy of Jay Gilbert
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he 1980s was a decade of great music, packed with unforgettable songs whose choruses are stubbornly stuck in our minds. It was also a decade that showcased a number of breakout artists who would go on to define the sound of the generation. The privileged artists to top this list included one name whose music is still dominating radio and nostalgia today. Rick Springfield began to write songs and perform for audiences early in life, but an unexpected relocation to America, a fair number of near successes, and a new decade, the 1980s, and his Working Class Dog album would propel him into being a household name, selling out stadiums, and dominating radio and record sales. But as noted, Springfield’s journey was not always easy and certainly not straightforward, but nonetheless, his determination and confidence in his music, not to mention great timing, would honor him with three Grammy nominations and one win (Jessie’s Girl). In May 2014, Springfield was honored with a star on the Hollywood Walk of Fame, and today he is still hard at work. His new album, Automatic, was released in August 2023 and is a blend of a more modern sound and the type of tunes that propelled him into music legend 40 years ago.
A lot of people don’t know that when you were growing up, your dad was in the military, so you guys moved quite a bit.
But then I went to England and discovered a band called Cliff Richard and The Shadows and they were HUGE. That was the first record that I bought. When I got a guitar, I tried playing Shadows’ stuff, Cliff’s stuff, and then Beatles’ stuff.
Do you remember where you were when you wrote your first song? I do actually! It was called “Love You” and I wrote it with my best friend John Kennedy who was a guy... we were both learning the guitar from each other, listening to records and copying from records, and stuff. I still have the actual piece of paper that we wrote it on when we were like fourteen or fifteen.
Did you know right away, even at a young age, that you wanted to be a singer-songwriter? First, I was more interested in being an object for girls. That was kind of the first draw, although I loved the guitar and the act of playing it. It was seeing these bands, and all of these kids go crazy for these local bands. That was a big driver. So, I started to write my own songs. That’s when my school career started to fall away. Eventually, I was asked to leave eleventh grade. My parents thought that I was destined for prison. (Laughs)
Yeah, my dad was an administrative in the army and we moved every two years. I was born in Sydney and then we moved straightaway to Melbourne. [We were] mostly in Melbourne, but were around different bases. They were not like the American army bases, they were basically a bunch of old houses out in the middle of nowhere. So it didn’t really feel like a military base at all. But then in 1959, my dad got posted overseas and sent to England. That was a very amazing time. I was about nine or ten years old. My first reaction was, “Where is England?” I had no idea. I had no concept of the world at that point. I had to give up my dog, which broke me and made a lifetime scar that I constantly try to heal by hugging every dog I see. It was really a traumatic thing for me at such a young age. When we first moved to England, I hated it, and then fell in love with it. But two years later, we left again and went back to Australia, and I hated that and vowed that I would leave. I wanted to get out and see the world at that point.
After that you joined several Australian bands like Rockhouse, right?
You picked up guitar at age thirteen?
As a band, you traveled to Vietnam during the war to perform.
Yeah, I wanted a guitar from the moment I first saw one. When I was eleven years old, I would lip-sync with a tennis racket, and then I started making cardboard guitars. Then I started cutting them out of wood, actually with a regular saw. I must have been obsessed. Eventually, my parents got the message, and I got me a real guitar for my thirteenth birthday, and I started to learn to play.
Who were your major musical influences? We didn’t have TV when I was a kid, when we were living out in the country, so after dinner we’d gather around the player piano; we’d take turns pumping it and singing Broadway tunes. That was my first introduction to music… singing “Oklahoma!” and “If I Loved You”. 50 ROUTE Magazine
After leaving school, all I did was play guitar and read books. One day, this guy named Pete Watson showed up and he was quite a star in Australia at the time. He had been in a big local band when I was a little kid, and my mom said, “Pete Watson’s in the living room.” I thought she was joking. I walked in, and he was there, and he said, “I saw you playing in a club, and I’d like you to join my band.” I was like… it really was a gift from God, or a curse depending on how you viewed what happened to my life after that. After he left, I went to my parents and said, “What should I do?” I was still guilted by my parents saying, “You gotta have an education. You need to have a career to fall back on.” But to their credit, they said, “What do you want to do?” I said, “I want to play guitar,” and they said, “Okay.” And that was the beginning of life on the road. I was sixteen.
Yeah, one day Pete said, “We’re going overseas.” I was hoping he meant England or America, but he meant Vietnam. (Laughs) There were promoters in Saigon, American promoters that weren’t connected to the army, but they’d hire bands. They lived in the Philippines. The G.I. (soldiers)… as long as you had a couple of pretty girls in the band, that’s all they wanted to see. They didn’t care if you were a s***ty band or whatever, they just wanted to see girls. So, we got a couple of girls in the band and went over. We were there for about four to five months; 1968 into 1969. I remember at nighttime, they’d send flares up and I’d say, “This is it!” But we survived. Now you couldn’t do what we did then. We stayed overnight in bunkers with the soldiers that we befriended; we went up on a mission in an Apache
helicopter; we shot everything from 45s to loaded tanks. I almost blew the band up with a hand grenade. It was insane. We got rocketed and mortared and shot at every other day. I had seen the USO Tour videos and it was not… this was just a private promoter that would hire bands. We didn’t even make any money. I spent all my money on food in the end.
You’ve described it as four months of fear. Your parents must have been a little concerned about you going to Vietnam to play during the war? They were. My dad was in World War II and he’d been in [New] Guinea and led a company there and had fought the Japanese. But I was very headstrong. If they said, “I don’t think that’s a good idea,” I don’t remember it. Plus, they thought we’d be kind of protected over there. I did too, and was actually quite surprised that we weren’t. In fact, when we landed, a couple of soldiers said, “You guys have guns?” And we said, “No.” And they said, “Well, you probably should get some.” And I’d go, “What the hell have we gotten ourselves into?” But we came back. I remember my mom and dad picking me up from the airport and they said they could see my eyes. I looked kind of haunted. A car backfired, and I jumped. But back then you didn’t talk a lot about what you were feeling.
You came back and you actually left Rockhouse and started playing with another local band, Zoot. Yeah. We played a show in Melbourne and Zoot saw me, and when [Rockhouse] split up, they came calling and asked if I would join their band.
What made you choose to leave Rockhouse? I would have thought that there would have been a bond formed after going through Vietnam together. Not really. Me and the bass player were quite a bit younger and we were just in the way. The older guys wanted to do a kind of cabaret thing and I wanted to play rock ‘n roll. Actually, Pete died shortly after coming back from Vietnam. He got a disease over there in his lungs, and a year after we got back, he was dead. We all ran to the doctor to have chest X-rays to make sure that we weren’t in the same boat.
That is very sad. So after playing with Zoot for some time you decided to break away to pursue a solo career? I was thinking of getting a band together after Zoot split up. We were very big in Australia. We had a bunch of hits and were one of the top bands at the time. I always saw myself as a guitar player in a band and that was what I was focusing on — guitar player/writer. However, a woman — her name
was Mitch, and she was a writer for the big music paper over there — suggested, “You should go solo.” I never thought of it before, but she kept pushing me. I agreed and got a record deal. I wrote a song, “Speak to the Sky,” and put it out, and it was a hit in Australia. Then I got a deal with Binder and Porter over here in America. Robie Porter was an Australian artist whose records I had collected when I was a kid and he hooked up with Steve Binder over here who directed the Elvis special. Steve saw photos of me and heard my demo and said, “This is the guy we want to manage.” So they brought me over and that was how I got to America.
What was your experience like when you first arrived as a young musician to America? Robie picked me up in his Cadillac with electric windows. I’d never seen electrtic windows before. We drove down some boulevard, had dinner and it was mind blowing to me. I couldn’t believe I was here. And then, you know, I got into the business of living here. I got an apartment in Hollywood below the same building that Robie lived. Then they started organizing all these magazines and I’m going, “Wow!” because we only had one magazine in Australia. I’d never heard of a teen magazine, you know, specifically for teenagers. So, I’m doing all these interviews and they’re taking photographs and I’m like, ROUTE Magazine 51
“These people really like me! This could be really big!” And then I started seeing articles coming up with me saying things like: “Rick Springfield Sleep with Me,” “Is Rick Springfield Too Tall To Love?”, and I go, “What the hell is this?” I quickly realized that it was a whole other genre that they were trying to put me into: this David Cassidy thing. I wasn’t so comfortable. They were trying to push this sexy stuff in these magazines. “Speak to the Sky” was my first top ten single over here, and I was more famous than a guy with a top ten single because I was in all of these teen magazines. I was getting noticed everywhere, but I started reading these stories: “Teen Idol Rick Springfield” and “What’s He Got?” from like, real magazines. So, I started getting this real mixed thing going on in my head of, “Okay, I’m putting out all this energy and I’m getting successful in this teen arena, but that’s not where I want to be.” And that was when I met a woman, one of the people that changed the course of my life, and she said, “They’re pushing you in the wrong direction, Binder and Porter. You’re a real musician with real songs. The direction that they’re pushing you in is not going to work, and it’s not going to last very long.” I had never thought of it that succinctly before, but she made me decide to call them up and say, “I’m done. I’m leaving.” I remember picking up the phone and my hand was shaking because they had brought everything to me. They had brought me over all my friends — well, their friends — and as soon as I split from them, I was all alone except for this one woman.
So at this point you had no manager or agent? Nothing. I cut loose and it was very scary. I was in my apartment; I didn’t have any money. I didn’t know what I had earned. They had paid for the apartment and paid any and all advances I had. If I wanted a thousand bucks, they’d give me a thousand bucks. Robie sadly passed away, but Steve is a beautiful guy and very talented. He was the one when I said, “I’m leaving,” he just said, “Okay.” Robie sued me for like half a million dollars which I didn’t have. He stopped me from performing and I couldn’t do anything. I couldn’t perform. I could barely pay my rent. It was a very, very traumatic time.
Okay, so, Binder and Porter got you your first deal with Capital for one album and the deal with Columbia for the second album, Comic Book Heroes. Neither album did as well as expected, but then you got a deal with RCA after you left them? So, I did a record for Columbia. They put out Comic Book Heroes, which is actually the only good review that I ever got in Rolling Stone. And then I did a record called “Springfield,” and it was really heavy. Columbia heard it and was like, “No, we thought we were buying David Cassidy. This is not an album we are going to put out.” So, they dropped me and that’s really when everything came down and I was all on my own. That’s when I went from poorer to poorer, and everything collapsed.
During that period in the ‘70s, the Laurel Canyon scene had so much going on. You got to perform in a number of iconic clubs like the Troubadour and Whiskey A Go-Go, right? What was the atmosphere like as a young guy? 52 ROUTE Magazine
Well, I hate to disappoint you, but I was an anglophile. I was into T. Rex and Bowie and all those bands. Slade and Queen… I was not at all into the Laurel Canyon thing. In fact, now I’m a giant Jackson Browne fan. We’ve been trying to go see him, but Jackson really changed my writing when I started to listen to him. But I didn’t start to really listen to him until like the end of the ‘70s, early ‘80s. He was the one I kind of pulled out of it, he and Joni Mitchell. I was never into that whole “country rock” kind of thing from Laurel Canyon. I was born into the rock stuff. When I played at the Whiskey and the Troubadour, it was a rock show. It wasn’t acoustic guitars. I was jumping around and trying to be Slade. But it was a great time... it was all parties, everything was legal. It was kind of the flowering of the ‘60s. The ‘60s kind of introduced it, but the full flowering was the early to mid-70s.
By ‘76 you had released four albums and then you pivoted into acting. You were a guest on some big shows like Hardy Boys, The Rockford Files, The Six Million Dollar Man... How did that come about? Had you wanted to be an actor? Well, my brother had been a successful actor in Australia. There was like one TV show that he would perform on like five times. He was a lead character, and he was really good, and as the younger brother I thought, “I can do that!” So, it was always in the back of my mind. And then when the music thing kind of shut down with me being sued and being unable to perform, I started going to an acting class. I fell into this community of actors — go out at night and, after that, we’d workshop. And we’d put on a little one-act play and I would invite people down. Of course, nobody came except one guy from Universal and he saw something in me, and he gave me a contract. That was the last of the contact players from Universal. They paid me like five hundred bucks a week, and I’d go up for lots of parts, and finally got a part in The Six Million Dollar Man. I couldn’t believe it. I thought, “Holy s**t! I’m an actor!” And that, basically, was how I paid the light bill for a few years.
You had a new management team by this time that helped you get the RCA deal, right? Yeah. In 1976, I signed with Joe Gottfried who owned Sound City, the recording studio. I did one great record [there] called “Wait for Night” that was with Nigel Olsson and Dee Murray, who had [by then] left Elton John. I used to go to parties at Richard Chamberlain’s house, where Elton would go. I knew all the guys and I’d play piano. I played some of my songs on the piano and then Elton would get up and play his new songs. It was a very small party circle. But I met Nigel there. So, I asked him if he and Dee would play on my new record. They agreed and came to Sound City and did this record, and it was a good record. We had a single on the charts called “Take A Hand.” But the label shut down, and the record went to s**t on the charts, and it all went away. But I stayed with Joe. I started making clay figures and sculptures to sell in swap-meets. I grew a beard, and I became a house husband basically. Acting had fallen away a little bit by then and I started a stained-glass class because I thought that would be a great way to make a living.
Really? Yeah, I don’t know! I like to work with my hands, and it was art, and I thought I could support my future family with my stained-glass mastery. (Laughs) But I saw a girl there and she was smoking hot and she had a boyfriend and wanted nothing to do with me. I went home and wrote a song about her, a single called “Jessie’s Girl.” At the time, I thought, “The hell with it. I’m not going to get another record deal, I’m just going to write a bunch of three-minute pop songs that I can play with guitar, bass, and drums, and I’m going to go out and do the clubs.” So, “Jessie’s Girl” was one of those and the whole Working Class Dog album was the songs that I wrote to go out and play clubs. And then Joe called me up and said, “There’s a guy at RCA that really liked your Comic Book Heroes album and wants to meet you and hear your demos.” So, I went in and played some of the demos, and RCA signed me. They really didn’t have anybody at the time — Elvis, that was it. It was just another record deal for me. I went in and recorded, and had the album done, and then General Hospital called. I figured it was just some show that blue old ladies ironing in the afternoon would watch and had no bearing on my musical career. I had had three, four albums released, and they had done nothing. And I thought, I don’t have a lot of faith in this new record. I’m just going to take the General Hospital thing because it’s real money and I need to start making a living here. So, I took the General Hospital gig, and then RCA, who had been holding onto the record because they didn’t know what to do with a guitar-bass pop record — because ballads and disco were still on the radio — decided to release it. It was the right time and Pat Benatar had “Heartbreaker,” The Cars were on the radio, and guitar was coming back. Pop was coming back onto the radio. It was just the right time. And it just happened to be the timeline that, for some f***ing reason, General Hospital became this giant summer show. People had started to find out that the “Jessie’s Girl” guy was a soap opera geek and there started to be some issues about that, “Oh, so he’s not a real musician, he’s just a soap opera guy.” So, a couple of radio stations dropped the song because they thought I was just some soap opera geek who someone had written a song for. They thought it was a gimmick. So, I said, “I’m gonna go out and play.” I eventually left General Hospital after eighteen months and followed my music path.
“Jessie’s Girl” took off and became a huge hit for you, even before RCA decided to push it as a single. DJs got the record and started playing the song because they liked it. This would never happen now. It was when DJs could play songs if they liked them; they didn’t just have to play the top twenty. If they heard something they enjoyed, they could play it. And a bunch of them started playing “Jessie’s Girl,” and they started getting what they called — back then — “huge phones.” So, RCA finally got the message that that was the song to release, and they released it, and that was that.
What was your writing process for “Jessie’s Girl”? It took a little while to write. It wasn’t one of those songs that came straight away. Probably two weeks into the stain
glass class, I started getting fed up enough that I had to write this song about it, because I was starting to get pissed off that I couldn’t get the girl. I wrote the riff, and I wrote the verse, and then I had the “B” Section from another song: “And she’s watching with those eyes.” And I realized that the two of them kind of went together. It seemed to lift the verse. And then I wrote the chorus. I was working on like three songs at a time, so they took a little longer. I bounced from one to another. If I got bored and ran out of ideas, I’d go to another song. And I think that’s how the two parts of “Jessie’s Girl” kind of came together. The original title was “Randy’s Girl,” but, I changed it. The guy’s name was Gary, but that didn’t work, so I changed it to Randy, because it had to be a two-syllable name, and it’s actually written through the song. But then I scribbled that out and wrote “Jessie” beside it. So, it was a later choice with “Jessie.” It just had a better ring to it.
Have you ever wondered if the girl ever discovered that the song was about her? No, I left the class long before the song came out, and Gary wasn’t really a friend. He was an acquaintance. And I actually don’t remember her name. I remember his because, you know, I was pissed off at him. No one has ever come up to me and asked, “Am I Jessie’s girl?” I’d recognize her if she did. Oprah actually tried to find her when she did this whole thing about “The Women of Songs of Rock” and they found the stained-glass class. It was in Pasadena. The owner was an older guy and he died two years before she found it. He had thrown out all the paperwork from his desk, so she missed finding out by a year.
What was your life like at that time, finding major success finally at the age of 30? Incredible. I knew I was going to be successful. I mean, I had serious moments of doubts where I wanted to kill myself and “It’s not going to work out” or whatever, but I always had that focus that somehow it was going to happen. If I just keep going and keep improving, luck... when the time comes around, you need to be prepared. And I was definitely prepared, and I remember thinking, really, my dominating thought was, “I’m so f***ing tired.” But I was really enjoying it. I was really enjoying it and it was very exciting. But it was almost familiar, because I had lived it so many times in my head.
How did you handle that level of fame? Fairly well. I wasn’t abusive. I know a lot of people who get abusive and diva-ish. I was not too... I had too little selfworth to become a diva. I never put gold or platinum records on my wall, ever. I put the first one up because it had my dog on the cover; it was the only one I ever put out. I thought, “Okay, that’s done, now I gotta look forward to the next song I’m going to write. What’s the next thing I’m going to do?” All my platinum and gold records ended up in a shed and got rained on, so I threw them out. I have a certain confidence now, that I didn’t have in the ‘80s. I was very very insecure. Very unsure of my worth and very unsure of my talent — whatever talent I might’ve had. So, it was difficult for me. I did enjoy moments, certainly ROUTE Magazine 53
playing to an audience that came to see me. It was certainly exciting. It was good to finally have that kind of validation, but that didn’t last for me. Which is why I ended up pulling the plug in 1985, because I was so depressed. Success hadn’t cured me. All the success that I thought would cure me, hadn’t. It hadn’t cured my self-doubt, hadn’t cured my depression, and hadn’t cured my feeling that I wasn’t really worth much.
At the outset of this amazing chapter, you lost your dad to cancer. He died in 1981. Were you guys very close? We were. It was pretty awful. I knew he was going down. We were aware of that. When he died, I got the call that morning from my brother… I went into General Hospital, just because he wouldn’t have wanted me to shirk it. I was always taught to honor your work and not mess around. He was always great like that. So, I went in, I’d do a scene, and then I’d go off to a corner and cry. I didn’t tell anybody because it was such a... I just didn’t feel like I wanted to share that with anyone, you know? But eventually someone from the show came up to me and said, “I understand that your father just died.” I said, “Yeah, he just did.” And she said, “We have to get you home.” And I said, “Yeah, I’d like that.” So, I completed my scenes for the day, and then got on a plane at around nine and flew to Australia with a knot in my stomach. He was cremated, and we took his ashes out on a boat on the harbor. And it was all stormy, and it was pretty amazing. And then I flew back. I remember lying on the floor in front of my seat on the plane on the way to New York, just curled up into a fetal position, with just my stomach in a mess and just not knowing where to put it.
You’re a dad now, yourself. You have two boys who are in their thirties. Did your father’s parenting affect how you raised your boys?
when people have successful lives and still complain, but that was me.
When they were growing up, did the kids know that their dad was “Rick Springfield”? Had your music success and fame impacted their awareness? The first time was when my son Liam was about six or seven. We went out somewhere, and someone asked for an autograph. When they walked away, he looked at me and asked, “Why did that person want you to sign your name?” And then it was never mentioned after that. I mean, they saw my guitars, they heard me playing. They knew that I’d go to my studio to record. It was never a big deal.
I’m curious about some of the songs. What’s the backstory behind “Don’t Talk to Strangers”? Well, I was super jealous. Barbara was the most honest, innocent person I’ve ever known and I... she’d look at a guy at a party and I’d go, “What are you looking at him for?” And I’d pull her out of the party, because I was just terrible at the beginning of the relationship. It was my own insecurities, because I didn’t think I could hold her. I knew she was beautiful; she had certainly been hit on a couple million times and was constantly hit on, and still is. So, I wrote that song. I was thinking about her when I’m away: “When I’m away, what’s she doing?” kind of thing.
What did she think of it? She’s kind of proud of the fact that I’ve written a lot of songs about her. Songs that show that I get excited about her like “Affair of the Heart.” A lot of them are about her. Sometimes she’ll question a new song, “Who’s that about?” But she’s proud to be a muse.
For sure, he was a great dad. Although he was in the army, he never brought it home. I’ve heard horror stories of servicemen coming home and making the kids salute; my dad was the one who hugged us. My mom... dad hugged us more than my mom. He was a lover and he would say stuff to my mom when we got older, like, “You’re so lucky to kiss the boys. They won’t let me anymore.” He was a great family man. And that’s what I got from him. The reason I pulled the plug in ‘85 was because... my first son Liam had just been born, and I was also incredibly depressed. I just loved being home with my family. I wanted to be a stay-at-home dad. I remember walking around the pool of my house in Malibu. Beautiful house, and I just had Liam, I had hit records, I had finances, and I was thinking, “I am so depressed.” Being successful and having money, it didn’t change anything in me, and I thought I’d be happier. It was the shock that, in the end, everything that I had strived for hadn’t changed me for the better. So, I took a break.
Another really catchy track is “You Gotta Love Somebody”.
Were you concerned that walking away and breaking the momentum could have bad consequences on your career?
What do you want people to think about when they think about Rick Springfield?
Yeah, but I didn’t really have a choice. I was miserable and I couldn’t have gone on with it. I was hating everything I was doing. I’d become someone I didn’t like. Now I get pissed off 54 ROUTE Magazine
I actually wrote that for somebody else. I was doing the Hard to Hold movie, and I was writing it for, I think Bob Weir. He was looking for a song. And then we needed a song to end the movie, and that was the only thing I had. It was this chorus about spousal abuse or something like that. “You wanna hit somebody” or something like that. And I was like, “Nah, nah, that’s...” I was walking around the hotel where we shot the movie in San Francisco, with a guitar, and singing it in-between shooting the scenes. So, I finished it out there. And I used Patti Hansen actually... who played a part. She’s Keith Richard’s wife now, so she was his girlfriend back then. And I used her as kind of the role model for the character, more like a projection. Patti and I got along pretty well, in fact, Keith came down to the set to see what was going on with his girlfriend and this “Springfield guy.” (Laughs)
I want them to think, “Wow, he’s still alive! One hundred and fifty years old, and he’s still with us!” I’ve never really thought much about the legacy. I’m proud of some of my writing, I guess.
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ROUTE Magazine 55
COMMUNITY THE BEER IS
56 ROUTE Magazine
IS WHERE By Sarah L. Boyd Photographs by Deborah Allen
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estled within the heart of the bustling tour town and lush mountain range of Flagstaff, Arizona, sits a 1920s-styled building overflowing with smiling patrons sitting around a light-strewn patio sipping beers — their dogs lying at their feet, pink tongues lolling in canine contentment — and sharing stories about their adventures on the open road. Whether it’s faithful customers or fresh faces, the atmosphere is warm and welcoming to all willing to seek — and what they find is a brimming mug of home. Life leads to one adventure after another, but, regardless of time or place, everyone must start somewhere to reach their full potential. And for Michael Marquess, his life started as an adventure and, somewhere in the middle, he lost himself. But through losing himself, he gained something much more. He gained a brewery — and built a community.
Life As a Journey When he was three years old, Marquess’s earliest adventures began by growing up under his grandparents’ roof in Oregon with his single mother. As far as awesome grandparents went, Marquess’s played a crucial role in his life, leading him to appreciate car culture — and the time-honored intrigue of traveling down the open road of Route 66 — at its finest. Founding members of the Rogue Valley Old Timer Car Club, his grandparents walked around dressed in vintage clothing. When not hosting club meetings, his grandfather fixed cars. And while his mother was off at work, a teenage, bright-eyed Marquess joined in. “I had my own coffee mug out in the garage,” recounted Marquess, the chief executive officer of the Mother Road Brewery. “I learned how to change oil, change spark plugs, and timing — eventually learning how to rebuild whole engines. And it just became a part of who I am; I adore it.” It wasn’t just fixing old cars that gave Marquess that drive of inspiration that led toward his passion for hospitality years later. It was the community his grandparents built around their club that served as an example of the type of business that he wanted to emulate. “[My grandparents’ club] would go out and do campouts... there’d be close to 14 families in RVs or tents, camping. And each of them would have towed up an old car of some sort, and then there’d be impromptu parades through campgrounds and on forest service roads.” By bringing families together, his grandparents encouraged an engaging atmosphere that provided the combination of entertainment through vintage automobiles with the enthrallment of the outdoors. Through this culture his grandparents created, Marquess grew to admire travel — a factor that would later influence him down the road. Despite being surrounded by the aroma of motor oil and the clanging of steel, Marquess did not let this experience define him. Thanks to the encouragement of a food 58 ROUTE Magazine
instructor at his high school, from the still-developing age of 15, Marquess “fell in love” with the joys of hospitality and food — so much so that his first official job started out as a greasy-haired fry cook at a Kentucky Fried Chicken. However, after graduating from Northern Arizona University in 2001 with a bachelor’s degree in Hotel and Restaurant Management, his future took a turn. Needing a “little break” from the hustle and bustle of food service, he committed himself to the grueling, whitewashed cubicles of real estate appraisal. During this lackluster period in his life, Marquess felt trapped between a rock and a hard place; his creativity and love for adventure stifled. Not only was the environment filled with backstabbing workers drenched in misery, but it also left him feeling hollow inside. And with the economic recession plummeting business activity, things were getting worse rather than better. He needed to find an exit, a well-intended release from the chains of appraisal. In 1999, he was presented with a golden opportunity.
Taking a Step Back Rekindling his old flame for food and beverage through the mastery of crafting homebrew beer on a stove, Marquess felt the initial stirrings of a calling that would lead him to his destiny. “It was the one thing that kept me sane through real estate appraisal and dealing with people I didn’t want to deal with. Because brewing beer is pure magic; there’s four ingredients, and in about two weeks, you have something you can share with your friends, family, and it’s still magic to this day.” However, his love for crafting beer was not the only factor that gave Marquess the nudge he needed to kick off his career. Pushing through this mental and physical roadblock, Marquess focused on weaving a world to call his own — and sharing that adventure with others. Joined by his cofounder and his then-wife, Alissa, Marquess started digging deeper into his Route 66 roots. In 2008, after a life-changing road trip through the majestic rocky plains of Colorado with Alissa and their children, Marquess embarked on a journey that would change the course of his life. “We kind of debated, and we decided that even if we lost everything, it would be better to go for it and try to do something rather than never knowing. So, that’s what we did.” Inspired by this brewing revelation, and with nothing else holding him back, Marquess’s life began a new chapter.
Converging Roads Through he and Alissa’s shared adoration for road trips winding down lone highways, and respect for the expansive motor history of Route 66, Marquess pursued this path into the unknown. And the first step was to locate a building to best represent their creative vision.
The brewery from its quiet street.
With branching paths, and a bit of luck, they found the perfect place. Twelve years ago, driving down the then rundown, gritty streets of southside Flagstaff — which was additionally located precisely on the 1966 alignment of Route 66 — where homeless rather than happy families roamed free, they found their diamond in the rough: a battered but beautiful 1925-style laundromat. While driving around behind the Milem building, the couple spotted a lone “for rent” sign nailed into the grimy brick, a hand-scratched number scrawled across. “In the ‘90s, when I walked into that building for the first time,” said Marquess, his voice filled with wonder. “I loved the building, but never would I have guessed that 15 years later, I would be building a brewery in it.” By November 7, 2011, his desire reached fruition, and a brewery was erected. But not just any brewery. Adorned with 66 memorabilia and various license plates, the brewery was an extension of the owners’ passions. “This brewery was an absolute manifestation of who we were,” explained Marquess. “And when you align yourself with what you love and who you are, it’s very easy to be successful, I think. People see that you are authentic and that’s where we survived.” Part of this authenticity stemmed from an event that influenced the family-friendly type of brewery that they
eventually incorporated. On that day, back when he and his then-wife were traveling through Durango, Colorado — contemplating opening a brewery — they stopped at a microbrewery called Carver Brewery Co. After a long day of driving, the children were acting “squirrely.” Noticing this, a waitress walked over and offered the children toys to play with. With the children entertained, Marquess and his wife enjoyed their dinner in peace, drinking not one but two pints of beer. “We had been made to feel so good at Carvers, and I wanted to share that with every other adult who has kids and to make them feel welcome.” While deciding on a cool business name that would resonate with customers, Marquess had a stroke of inspiration. A professed John Steinbeck fan, he dubbed his brewery the “Mother Road,” a phrase coined within Steinbeck’s book Grapes of Wrath, a story about the Joads family embarking on a journey out west to California in search of a new life. Set after the harrowing period of the Dust Bowl, the family is firmly fixed on finding hope amid widespread despair. A hope which Marquess envisioned his brewery to represent as well. “You’re driving on 66 and you’re finding hope out there; reinventing myself from real estate appraisal to come back and do something that I truly loved.” Not only did he want to remain true to the aesthetic of the building, but he also wanted to capture that moment in time. To ROUTE Magazine 59
Michael Marquess in his vintage automobile.
imagine families like the Joads rolling through town, beaten but not broken, braving the wilderness and the seemingly unending stretch of road ahead as they sought a brighter tomorrow — that was the image he wanted to embody. To remind himself — and others — of that shimmering hope.
Rising From the Ashes As most beginnings go, the road to Marquess’s budding business did not start with everything handed on a silver platter. For the first couple of years, he struggled to earn his customers’ loyalty through the central factor that mattered the most for a brewery — beer. Though things started shaky at first, with some beers being good and others less than second rate, eventually, his business took flight. “We started playing catch up, but I don’t know why anyone stayed with us for those first beers; we didn’t know what we were doing, but they were loyal and remain loyal [to this day]; it’s very humbling.” But everything fell apart when the coronavirus whirled through Flagstaff in 2020 — shutting down the world in its wake. Sitting in the office lounge and sipping a cocktail, Marquess was savoring the soothing silence when suddenly his mobile phone started ringing. Like rapid fire, texts pinged continually, throwing him headfirst into a shocking realization: starting tomorrow at 7PM, businesses were going to close up shop. Perhaps indefinitely. Fortunately, thanks to Arizona’s governor, businesses did not reach that extreme, but the changes upended Marquess’s carefully crafted haven. A hearty staff of 40 was quickly reduced to a skeleton crew of 13, and every 30 minutes, a buzzing alarm filled the air, followed by the scrambling of staff as they scrubbed potentially infected surfaces. But, ever 60 ROUTE Magazine
resilient in the face of the unknown, Marquess did not go down with a sinking ship. As he shuffled through papers on his bed, waiting to speak with the brewery’s board of directors to discuss plans going forward, Marquess made a groundbreaking decision: “I will be damned if I let a microscopic thing wipe out everything we built.” In October 2020, choosing to take a horrible situation and make it better, Marquess gathered his resources together and focused on rebuilding what could never be fully destroyed — hope. To make the brewery more comfortable, Marquess asked for a loan from the bank and appealed to the landlord to increase the brewery patio space to accommodate for outdoor dining — providing seating for 100 guests. Despite the social upheaval surrounding them, the brewery staff also returned, their commitment to the establishment shining through their uncertainty. To honor the occasion, as the crew dressed in vintage ‘20s and ‘30s clothing for the annual anniversary photo, Marquess had the picture taken outdoors. “The photo we chose to put up at the office was the one with the masks. We did that purposefully to remind ourselves that we can be knocked down at any time, but it’s how we pick ourselves up that really matters.” Truly, though the coronavirus tried everything in its power to beat them down — they overcame the odds. Today, Mother Road Brewery continues to be a welcome addition to Flagstaff’s northern Arizona landscape and a reminder of a culture and truth that has always defined Route 66 — opportunities abound and are always available to those with a wide vision and a heap of courage. At a time when he needed a direction, Marquess discovered his path along the most famous highway in America and continues to welcome others looking for a memorable stop off of the road.
ROUTE Magazine 61
THE JEWEL OF
62 ROUTE Magazine
WEST TEXAS By Nick Gerlich Photograph by Katy Pair
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hen Route 66 was born in 1926, lodging was far more limited than today. Tourists either stayed at tourist camps, often camping with rudimentary gear or, if their budgets allowed, they overnighted at hotels, many of which were located near railroad depots. Motels, as we know them did not begin to flourish until at least a decade later. Today, some of these historic hotels still stand, attending to the needs of travelers who prefer a more upscale experience. Rare, though, is the modern hotel that inhabits a vintage building, but didn’t become a hotel until only recently. The Barfield Hotel in Amarillo fits that description, and virtually overnight after its opening in early August 2021, became the premier accommodation in town. “It’s not a historic hotel, but it’s in a historic building. We’re a Marriott Autograph Collection property, not a cookie-cutter hotel. And we’re on Route 66,” said Chloe Shelton, sales manager at the Barfield Hotel. It’s a blast from the past, but in the present tense. Built in 1927, The Barfield is unlike most buildings of the day not only in Amarillo, but in any U.S. city. Its owner was a woman, Melissa Dora Oliver-Eakle, a wealthy philanthropist who had migrated to Amarillo after completing her education at Georgia Women’s College. The structure—Amarillo’s first skyscraper at 10 stories tall—was originally named for its benefactor, but she eventually renamed it The Barfield in favor of her brothers, who claimed that as their surname. Ms. Oliver-Eakle was the widow of industrialist William Oliver, who was the primary stockholder of Mississippi Mills, the largest firm of its type in the South. She was so wealthy that she had more money than all of the Amarillo banks combined and used her wealth to prop up banks in need, as well as support growth of the city. But she was conscious of her gender, and frequently went by M.D. Oliver-Eakle so as not to throw off people uncomfortable with a woman of such power. In fact, many of her beneficiaries did not even know she was a woman. Known among friends and professionals as “The Duchess,” she exuded elegance. Among her many other influences felt around Amarillo to this day are the Tri-State Fair, which opened in 1926, and also the Oliver-Eakle subdivision just south of downtown. She died in 1931, leaving behind a legacy of giving and civic engagement. “The building opened to the public in 1927. At that time, it was office space. It was never intended to be a hotel. It operated as that for quite a long time but then sat vacant for about 30 years. It’s a prime location on 6th and Polk for those traveling Route 66,” Shelton continued. Vandals and graffiti artists gutted the abandoned structure starting in the late-1980s and left their colorful destruction. The bones were still good, but the tissue was all gone. That is, until 2015 when two couples from the Stephenville, Texas, area—both big in the cattle industry—bought the building. They envisioned a boutique hotel, their first among various holdings, and contracted with Coury Hospitality of Irving, Texas, to manage it upon completion. Planning and renovation took the better part of a decade, slowed down by supply chain issues toward the end. But
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when completed, the finished product exceeded everyone’s expectation, from owners and managers down to locals. “All along, our owners and the developers saw a lot of potential, especially since Amarillo did not have a boutique luxury hotel,” Shelton added. There was much work to be done, including asbestos abatement, not to mention reconfiguring walls and plumbing in a building never intended to have overnight guests. As with most renovations, there wasn’t always smooth sailing. “We wanted to keep a lot of the history, and in doing that, there are always challenges.” But meticulous attention to detail paid off. “All the windows are the original windows. They took them out to restore them, but they marked each one so that they could be returned to their exact location. There used to be old mail drop boxes on each floor. When the developers went in to renovate, they noticed that there were still old pieces of mail in there that dated back to the late ‘20s and early ‘30s that had never been mailed out! Those mailboxes still sit on each floor today, but we have them closed off so that no one mistakenly drops anything in there.” The 10th floor is the only one left in its original historic configuration, all lower floors had to be reimagined. Individual bathrooms had to be installed, and completely new layouts constructed. As a result of these challenges, the 110 rooms and two suites are one-of-a-kind. “Each room has so much character and is a little different from the others. Because it wasn’t laid out to be a hotel, that gives it a lot of unique characteristics and individuality.” Now after two years of operations, The Barfield has had a chance to learn the seasons of its business, which ranges from primarily transient travelers in summer, to businessmen and women in the fall and spring. There are also special groups and events, including weddings, that book lodging there. Inside the hotel on the first floor is the Toscana Steak House, an intimate dining experience featuring farm-to-table fare. An adjacent bar mixes popular adult beverages, and on the second floor, there is access to a roof top lounge area during warmer months. Downstairs in the basement is the Paramount Recreation Club, a modern-day replica of the similarly named speakeasy that Oliver-Eakle opened in 1927. The speakeasy has become a favorite night spot, especially with the mystique of having to figure out the not-so-secret trick for entry. Once inside, guests are sent back in time a full century, to an Amarillo ruled by cattle barons and oil men. As with most aspects to this venue, the ambiance is upmarket, but romantic and historic. When the building opened in 1927, Route 66 was already carrying motorists alongside it. Downtown Amarillo was bustling, the intersection of three major rail lines, and also several federal highways. Earlier roads like the Ozark Trail, the Colorado-to-Gulf Highway, and the Golden Belt Highway crisscrossed the city in the years prior to 1926. Amarillo was a hub, with an opera house, several grand hotels, and shopping. Ms. Oliver-Eakle’s building was a fitting addition to the skyline. If only Oliver-Eakle could have lived to see her building become the hospitality masterpiece it is today. No doubt she would have approved.
“In telling the story of his African family’s journey on Route 66, Brennen Matthews has made an important contribution to the legacy of the highway. He offers both a new voice and a new look at the Mother Road.” —from the foreword by Michael Wallis, New York Times bestselling author of Route 66: The Mother Road
“Hop in and buckle up. Brennen Matthews’s Miles to Go is a ride you won’t soon forget.” —Richard Ratay, author of Don’t Make Me Pull Over! An Informal History of the Family Road Trip
“Miles to Go awakens fond memories of my many road trips by car and Greyhound bus along the ‘Mother Road,’ Route 66!” —Martin Sheen
“In Miles to Go, we don’t just drive the highway looking out the window. We stop, interact with people, and learn things we were not expecting. . . . This Route 66 journey doesn’t just immerse us in the sights, sounds, and experiences of the road. As guests on the journey, we’re encouraged to think about what it means to live in America and be an American.” —Bill Thomas, chairman of the Route 66 Road Ahead Partnership
Miles to Go is the story of a family from Africa in search of authentic America along the country’s most famous highway, Route 66. Traveling the scenic byway from Illinois to California, they come across a fascinating assortment of historical landmarks, partake in quirky roadside attractions, and meet more than a few colorful characters. Brennen Matthews, along with his wife and their son, come face-to-face with real America in all of its strange beauty and complicated history as the family explores what many consider to be the pulse of a nation. Their unique perspective on the Main Street of America develops into a true appreciation for what makes America so special. By joining Matthews and his family on their cross-country adventure, readers not only experience firsthand the sights and sounds of the road, but they are also given the opportunity to reflect on American culture and its varied landscapes. Miles to Go is not just a travel story but a tale of hopes, ambitions, and struggles. It is the record of an America as it once was and one that, in some places, still persists.
Experience America and Route 66 through a lens never seen before. VISIT AMAZON.COM AND ORDER A COPY OF MILES TO GO NOW AND JOIN BRENNEN MATTHEWS AND HIS FAMILY AS THEY SET OUT TO DISCOVER AMERICA ALONG HISTORIC ROUTE 66 UNIVERSITY OF NEW MEXICO PRESS ROUTE Magazine 65
OASIS IN By Mitchell Brown 66 ROUTE Magazine
TUBAC ROUTE Magazine 67
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t’s a cool day in the southern part of Arizona, at least comparatively to the rest of the Grand Canyon State, but that’s to be expected when standing at a higher elevation than Tucson or Phoenix. In the quiet town of Tubac, resting comfortably between Madera Canyon and always within view of the Tumacacori Mountains, is the aptly named Tubac Golf Resort & Spa. The Spanish Eclecticstyle structure resides inside acres of fairways and back nines, framed by the banks of the Santa Cruz River. Within this resort, one old enough to have lived in two countries, is an unexpected history that goes almost as far back as the Revolutionary War. In 1789, when modern-day Arizona was Pimería Alta, a Sonora y Sinaloa Province in the Viceroyalty of New Spain, the Spanish monarchy provided a land grant to Don Toribio de Otero to establish a homestead. “Don Toribio was granted the land by the Spanish because of the family’s knowledge of ranching and farming,” said General Manager Hank Swiggett. “Otero had received the title to a house-lot and four suertes [Suerte: an area of about 26.4 acres] of farming land. The grant had been made by the presidio commander of Tubac [Erran] under a 1772 Spanish regulation that allowed him to grant up to four leagues of land near the presidio to attract settlers.” However, living in the area proved difficult due to regular raids by the Apache and eventually required the protection of the Presidio troops. Through the decades, Otero’s family grew (the eventual ownership going to Toribio’s grandson, Sabino) and managed to keep their heads above water, even though ranching and farming was never a secure trade in the area. By 1853, President Franklin Pierce signed into law the Gadsen Purchase, which resulted in Pimería Alta (which included the southern portions of New Mexico and Arizona) and, by extension, the Otero family’s land, falling under the jurisdiction of the United States. This proved to be an issue by the time the Civil War came around, and the control of the land went to the Confederacy, who didn’t provide support against the Indian attacks that the family were forced to endure. Eventually, Sabino moved the family across the border into Mexico. There, they learned cattle ranching and acquired a sizable herd, resulting in a prosperous business. But by 1879, news came of water and cattle available back in Arizona, so the family moved back to their homestead, and with the ever-approaching railroads entering the area, Sabino could sell livestock to a broader market; so much so that he became known as “The King of Cattle.” After Sabino died in 1914, the business was handed down to his brother Teofilo. Over the subsequent decades, the property fell under multiple owners. After some financial troubles, Teofilo sold most of the family’s land and eventually parted ways with the homestead in 1937. After that, it fell into the possession of
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the aviator Joanna Shankle Davis, and then a banker named Wirt Bowman, but the most famed owner, and the one responsible for transforming it into the resort that it is today, was entertainer Bing Crosby. “Santa Cruz County is where a lot of stars came to visit during Prohibition, because they could go down to Mexico, party, and bring alcohol back,” said Swiggett. “So, there were a series of ranches that were owned by major studio owners.” Some of these executives were friends with Bing Crosby and his investment group, and eventually, they came out from L.A. to check out what all the commotion was about. This resulted in them purchasing the homestead in 1959, with Bing buying one share of the property for $5,000. It granted him three lots east of the river, which is currently the original Rancho golf course. Along with his friend and fellow entertainer, Bob Hope, Bing was an avid golf player, and eventually he decided to turn the property into a resort that included a nine and 18-hole course. While still preserving the historical integrity of the location, they converted the stables into a clubhouse bar and built 14 rooms that surrounded a pool. This proved a worthy investment because the area continued to become a booming location for movie stars and film productions. “One of the big ones, the John Wayne film Red River, was shot in Tubac,” noted Swiggett. “A lot of movies in the ‘40s and ‘50s were filmed down here, so there was a big production effort. At one point, Nogales was a booming city with a lot of nightlife and a lot of Hollywood executives and entrepreneurs visiting. It was a very lucrative time.” After going through multiple more owners, several expansive remodels, a film shoot of the Kevin Costner film Tin Cup in 1995, and even a 100-year flood in the late ‘60s, in 2002, the resort fell into the hands of its current owner, Ron Allred. In the time since the Allred family has taken over, the resort has grown exponentially. It’s seen an expansion of an additional 60 rooms, an expanded restaurant, and even a replica of an 18th Century chapel. The latter has become a popular location for hosting wedding ceremonies. While it’s come a long way from its modest roots, the resort is constantly growing and being renovated, while still maintaining its historical integrity. It’s become an attraction for tourists — obviously including golfers — but it’s also something of a shining beacon in the Arizona terrain. Its old-fashioned style of architecture and calm of the desert teleporting those who visit back to the 18th Century. A fact that’s not lost on those in charge of its upkeep. “I kind of stumbled into Tubac,” laughed Swiggett. “I’ve been coming down here for 36 years; this place, to me, is an oasis in the desert. We’re one of the cores of this whole community. We are this beautiful oasis in the middle of the desert that brings people together.”
L A F O N D A’S G I F T S H O P L A F O N D A’S G I F T S H O P L A FG OIN L A F O N D A’S F TD A’S S H OGP I F T S H O P L A FG OIN L A F O N D A’S F TD A’S S H OGP I F T S H O P L A F O N D A’S G I F T S H O P L A F O N D A’S G I F T S H O P
IN EVERY ROOM A S TEVERY O R Y O F ROOM THE ART IN A FF O ON ND D A’S A’S G HO OGPP I F T S H O P L A FG OIIN LL A FF TTD A’S SS H A FF O ON ND D A’S A’S G HO OGPP I F T S H O P L A FG OIIN LL A FF TTD A’S SS H L A F O N D A’S G I F T S H O P
S T O R Y O F TROOM HE ART INA EVERY L A F O N D A’S G I F T S H O P
L AI OFG O P A ON THE PLAZA HIGHLIGHTS FROM THE CO NIN OA’S LGPAI F TF SOHNOD L AL FLOENCDTA’S F TD SFH O L A F O N D A’S G I F T S H O P L A FG OIN L A F O N D A’S F TD A’S S H OGP I F T S H O P
L A F O N D A’S G I F T S H O P
HIGHLIGHTS FROM THE COLLECTION OF LA FONDA ON THE PLAZA
LAUNCH A S T O AUGUST RBOOK Y 17O FTO 5TPM H E A R T | 3 PM L A F O N D A’S G I F T S H O P LaBOOK Plazuela at La Fonda LAUNCH AUGUST 17 | 3 PM TO 5 PM La Plazuela at La Fonda
H I G H L I G H T S F R O M T H E C LO LLECTION OF LA FONDA ON THE PLAZA A F O N D A’S G I F T S H O P
BOOK LAUNCH AUGUST 17 | 3 PM TO 5 PM La Plazuela at La Fonda
On the Cover: Jordan Craig “Pink and Red Stripes” Acrylic on Canvas
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With more than 300 days of sunshine a year – and a unique mix of tranquil waters, rugged mountains, and tons of fun – it’s hard to stay inside. Discover Lake Havasu City – just a short drive from Route 66 – and play like you mean it.®
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Plan your visit at ENJOYILLINOIS.COM/ROUTE66
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ROUTE Magazine 75