ALABAMA Volume XXI, Number 1 ARTSState Arts Awards Issue 2005 Members State Council on the Arts

BERNICE PRICE CHAIRMAN Montgomery

REBECCA QUINN VICE CHAIRMAN Huntsville

FRANK HELDERMAN SECRETARY Florence

EVELYN ALLEN Birmingham

JULIE HALL FRIEDMAN Fairhope

RALPH FROHSIN, JR. Alexander City

DOUG GHEE Anniston

ELAINE JOHNSON Dothan

DORA JAMES LITTLE Auburn

JUDGE VANZETTA PENN MCPHERSON Montgomery

VAUGHAN MORRISSETTE Mobile

DYANN ROBINSON Tuskegee

JUDGE JAMES SCOTT SLEDGE Gadsden CEIL JENKINS SNOW Birmingham

CAROL PREJEAN ZIPPERT Eutaw

Opinions expressed in AlabamaArts do not necessarily reflect those of the Alabama State Council on the Arts or the State of Alabama. ALABAMAARTS In this Issue 2005 State Arts Awards Volume XXI Number 1 A Celebration of the Arts STATE ARTS AWARDS 2005 3 Al Head, Executive Director, ASCA

Gloria Narramore Moody 4 Moody has Heart for City, the Arts Michael Huebner

George Lindsey 8 From Weekly Series to Lifetime Achievement Terry Pace

Betty Grisham 13 Teacher, Patron and Artist Extraordinaire Clayton Bass

Bobby Horton 17 Understanding the Soul of American Music William M. Jarnigan

Jimmy Lee Sudduth 21 His Work Is REALLY Down to Earth Margaret Lynne Ausfeld

Margie and Enoch Sullivan 25 Pioneers of Bluegrass Gospel Music Anne Kimzey

Vestal Goodman 29 “The Queen of Gospel Music” Beth Chapman 33 2005 Celebration of the Arts Awards Performers 36 The Alabama Artists Gallery Exhibition

On the Cover: Gouache on paper by Annie Kammerer Butrus, Birmingham, “Fallen Fruit: Summer, red”, 11" x 14", 2003. Butrus received an individual artist fellowship in 2004 from the Alabama State Council on the Arts. This work expresses changes in the contemporary Alabama landscape.

Library of Congress Card No. 74628447 STATE ARTS AWARDS 2005 • ALABAMAARTS • 1 Alabama’s Council on the Arts

Mission Statement The mission of the Alabama State Council on the Arts is to promote Alabama’s diverse and rich artistic resources while highlighting excellence and educational experiences.

The Agency The Alabama State Council on the Arts is the official state agency for the support and development of the arts in Alabama. It was established in 1966 by an act of the Alabama Legislature. The agency supports not-for-profit arts organizations, programming in the arts for the general public, and individual artists. The State Arts Council works to expand the state’s cultural resources and preserve its unique cultural heritage and places a high priority on arts programming by and for schools. The Council’s primary means of supporting the arts and making the arts more accessible to varied audiences is through a multi-faceted grants program which covers all disciplines and fields of creative expression. The Council The fifteen members of the Council are drawn from communities throughout the state. They are appointed by the Governor for six-year terms, and selection is based on expertise in the arts, business, or community affairs. The officers of the Council are elected by its members. The Council meets four times each year, at various locations throughout the state. It approves agency programs and policies, develops long range plans, and makes final decisions on state and federal grant dollars under its jurisdiction.

2 • ALABAMAARTS • STATE ARTS AWARDS 2005 A Celebration of the

A rts by Al Head labama is blessed with an abundance of resources — Our state, in many ways, is the sum total of the hundreds many natural, some fabricated—but most are trea- of communities that exist within it’s particular boundaries. Asures that lie in the richness of our people. In fact, It has often been said that communities do not stay the the personality of our state can best be reflected through same, either growth and progress occurs, or decline and examples of human endeavor that are sprinkled across our erosion is realized. One of the consistent characteristics of a diverse landscape. Human endeavor is evident in education, progressive community is a vibrant cultural environment. the corporate world, public service, cultivating the land, but, You don’t have a vibrant cultural environment without perhaps, there is no area where the unique footprint of our creative people, visionaries, supporters of ideas and dreams, people is better expressed than through the arts. In the visual, those appreciative of quality and people who will give of performing and literary arts, the best of the state of Alabama themselves for the common good. The Council’s Arts is represented through stories, images and sounds created by Awards Program is all about these kinds of people and the a wide range of talented artists. quality of life they enhance. The arts in Alabama are created, supported, taught, Finally, we hope the awards evening will be an inspiration preserved and presented by some very special people. The for other Alabamians to join with our honorees in molding State Council on the Arts, every other year, recognizes a group communities that reflect the cultural richness of our diverse of these people and attempts to honor both personal accom- population. The arts and artists of Alabama are indeed one of plishments and contributions to the state. The task of our state’s most valuable resources and with a bit of nurturing choosing a limited number of persons to spotlight is difficult these resources can help our state be vibrant and progressive n on one hand, but incredibly rewarding on the other. There are in all the right ways. many to choose from. Their stories are remarkable. Their impact on the state is immense. This year’s program not only gives us a great opportunity to thank some outstanding individuals for their service but also provides an occasion to celebrate the arts and artists in Al Head is the Alabama. Public officials in the state are increasingly realizing Executive Director the important role the arts play in education, early and life-long learning, cultural tourism, economic development, community of the Alabama State revitalization and enhancing the overall quality of life for the Council on the Arts. entire population. We have a lot to celebrate and be proud of in the state. The arts are a big part of the positive activity taking place in virtually all of our communities, big and small. The richness of the arts in Alabama need not be a “best kept secret” and the wonderful people behind the scenes making the arts happen deserved to be continually appreciated.

STATE ARTS AWARDS 2005 • ALABAMAARTS • 3 THE JONNIE DEE RILEY LITTLE LIFETIME ACHIEVEMENT AWARD Gloria Narramore Moody MOODY HAS HEART FOR CITY, THE ARTS by Michael Huebner

utographed pic- New York management tures, many with firm that drives the Apersonal notes, careers of opera singers. line Gloria Narramore She has also been active Moody’s upstairs studio in on the boards of her Redmont Park home. Alabama Shakespeare Photos of Renee Festival, Opera Fleming, YoYo Ma, Samuel Birmingham, Berkshire Ramey, the Guarneri Opera, and was presi- Quartet, John Browning, dent of the Tuscaloosa Awadagin Pratt, Emanuel Symphony. Last year she Ax and other classical was named outstanding music greats share space philanthropist by the with thick scrapbooks of Alabama chapter of the Photo: The Birmingham News Staff/Bernard Troncale. newspaper clippings, Gloria Moody, shown in her home in Redmont Park, is one of the state’s most respected arts Association of awards and other memo- philanthropists. Fundraising rabilia. Yet to be hung were Professionals. the score and baton Richard 2001, Moody has been named to the Westerfield used for his final ASO board of “From the Top,” the NPR PRECOCIOUS PIANIST appearance in May. radio program hosted by pianist Moody was 4 when she first sat They’re reminiscences of a remark- Christopher O’Riley that showcases down at the piano, playing music she’d able musical life that began as a prodi- young talent from around the nation. heard on the radio and reproducing gy and led to her status as one of The Gloria Narramore Moody music her older sister was playing. Alabama’s most respected and influen- Foundation, established by her late “That didn’t make for good rela- tial arts philanthropists, and on May 4, husband, Frank Moody, stands at or tions, but she lost interest in it,” Moody she’ll be recognized at the Alabama near the top of contributor lists for recalls of her sibling. State Council on the Arts awards pro- numerous Alabama arts organizations. She was 11 when her parents, on the gram when she receives the Jonnie Dee For many years Moody was on the advice of area musicians, sent the bud- Little Lifetime Achievement Award. board of overseers for the Boston ding musician to renowned piano ped- President of Alabama Symphony Symphony Orchestra and was vice pres- agogue Roy McAllister at the Photo: Courtesy of the University Alabama. Orchestra’s board of directors since ident of Janice Mayer and Associates, a University of Alabama. Moody

4 • ALABAMAARTS • STATE ARTS AWARDS 2005 remained his student throughout her music training at UA. STEINWAY, “My parents were not musicians, NOT BUICK and they didn’t know if I was getting along well,” says Moody. “But every- For the next two years where I went I played the piano. The she immersed herself in head of the music school heard me music, for a time teaching play at Girl Scout camp. Playing piano in a private school. Then became synonymous with my life.” she met an old friend. Moody continued to teach and per- “I’d known Frank form after she graduated from college Moody my whole life,”she Photo: Courtesy of Gloria Narramore Moody. and married into a prominent says. “Frank was 18 years Gloria and Frank Moody at their home on Overlook Road, Tuscaloosa. Tuscaloosa family. Hugh Thomas, older than I was and he whose father, Frank, coached the UA had four children. We got football team to a 115-24-7 record and married in 1969. It was just wonderful Tuscaloosa,” she says. “He was chair- two national championships from to be a family again.” man of all kinds of things like the hos- 1931 to 1946, was her husband for 12 One of Tuscaloosa’s most promi- pital board and the mental health years. But tragedy struck in 1967. nent businessmen, Frank Moody was board. I was never a club person; it was Thomas, a member of the Alabama the fourth-generation president of the always music or home. He didn’t par- legislature, was killed at age 33 in a First National Bank in Tuscaloosa. ticularly want me to have a career, but traffic accident on his way to a meeting When Gloria graduated from high said he always felt guilty because he of the House of Representatives. school, her father approached Frank, took my first love—my love of music “That was like the end of the then a loan officer, about financing a and playing.” world,” she remembers. “Hugh and I grand piano. Still, Gloria performed often and had two children. My daughter was 8 “Frank just shook his head and told studied piano in New York during the and my son was 5.” him, ‘You can buy a new Buick for 1980s, once accompanying flutist that,”’ she Ransom Wilson in recital. The couple says. “Daddy also shared a love for travel, so after the said, ‘I don’t children were grown, they bought a want a new house in the historic town of Buick. I want Washington, Conn. But with music a Steinway.”’ still flowing in her veins, the short Gloria drive from Washington to Lenox, describes Mass., where the Boston Symphony Frank as the played each summer at the “outside” per- Tanglewood Music Center, proved irre- son of the sistible for Gloria. The couple bought a family during summer home in Lenox in 1989. their mar- “Tanglewood changed my life,” she riage. said. “That’s where I got to know YoYo Photo: Courtesy of the University Alabama. Gloria Moody, and UA Celebrity Series artists Itzhak Perlman and YoYo Ma. “He was Ma, Gil Shaham and Itzhak Perlman. I Mister would think, ‘Why can’t we have some-

STATE ARTS AWARDS 2005 • ALABAMAARTS • 5 thing like this in Tuscaloosa?’ I wanted When Paul Ferrone arrived to inter- to share this with people I love. That’s view for ASO’s executive director, he when Frank started thinking about the was impressed by Moody’s commit- foundation.” ment to the orchestra. With his health failing, Frank was “It was clear that she was incredibly determined to start a foundation and passionate about the ASO," Ferrone name it for his wife, whose career he says. "You sensed this unconditional believed he had curtailed. He and his commitment, not only to the ASO but family had already funded much of the to music, and that rubs off on you. construction for Frank Moody Music Every time she speaks, you find your- Photo: Courtesy of the University Alabama. Building at UA. Gloria and long-time friend and colleague self leaning forward and paying atten- “He wanted my whole name in Amanda Penick pose after duo-piano perfor- tion, because what she has to say, you there, and he said it was because of mance for UA Leadership Board. need to hear.” guilt,” she said. “Everything about him was far-sighted. He knew he wouldn’t Troyanos, but the singer died before ROOM FOR OPTIMISM live long, and he wanted me to have the premiere. The work was dedicated Foundation recipients range from something to do for the rest of my life.” to Troyanos and Frank Moody and first large organizations such as the UA’s performed in Tuscaloosa by soprano Celebrity Series, Alabama Shakespeare FUNDING ALABAMA Benita Valente, violist Michael Tree Festival, Opera Birmingham and ARTS (playing Troyanos’ part) and pianist Alabama Ballet to smaller endeavors Cynthia Raim. like Northport’s Dickens Downtown After Frank died in 1994, Gloria The foundation also funded the and Birmingham’s Summerfest. began funding arts in Alabama, com- world premiere of Gunther Schuller’s Moody’s interest in young talent missioning composers, sponsoring oratorio, “The Black Warrior,” an ora- spawned her sponsorship of the Alys concert series and serving on boards of torio based on Martin Luther King, Jr.’s Stephens Center’s Rising Stars Series, directors. The same year, she commis- Birmingham letters. which showcases artists at the begin- sioned William Bolcom’s “Let Evening Moody moved to Birmingham part- ning of their careers. Come” for opera legend Tatiana ly to help with the rebirth of the Alabama Symphony, which receives the biggest portion of the $300,000 given annually by the foundation. During the recent interim period between executive directors, Moody rolled up her sleeves and went to work. “I went to the office almost every day,” she said. “We’d had several staff Photo: Courtesy of the University Alabama Photo: Courtesy of the University Alabama. changes, and I wanted to be Gloria Moody, pianist Garrick Ohlsson and for- Dr. Dennis Monk, Chair of the School of Music when the new mer UA president Andrew Sorensen. sure that the morale stayed music facility was built, with Gloria and Itzhak Perlman. high. And it did.”

6 • ALABAMAARTS • STATE ARTS AWARDS 2005 “I was brand new in the community when I met Gloria,” says Stephens Center director Caron Thornton, who hopes to bring “From the Top” to Birmingham in the near future. “When she moved to Birmingham, I invited her to see the hall and asked her to be on the board. Shortly after, she was funding the Rising Star series. She’s your best friend, a fabulous sponsor and a wonderful human being.” Moody is mostly upbeat about the symphony and Birmingham arts in general. “It’s going to take a lot of close observation to figure out how to pro- ceed,” she says. “We could shoot our- selves in the foot in a million ways. I’ve had my fears about large businesses leaving, but I’m optimistic, particularly in Birmingham.”

She will also take close looks at can- Photo: Courtesy of Gloria Narramore Moody. Gloria Narramore Moody early in her career. didates for ASO’s music director. “It’s terribly exciting,” she says. “The search committee will meet after each and get to know them socially. It’ll be good for Alabama nationally when all those conductors see what’s here. People are always shocked at the high quality of the orchestra. ■

Michael Huebner is a Fine Arts Writer and Classical Music Critic for The Birmingham News. Copyright, Article by The Birmingham News, 2005. Originally published May 25, 2004. All rights reserved. Reprinted Photo: Courtesy of the University Alabama with permission.

STATE ARTS AWARDS 2005 • ALABAMAARTS • 7 THE DISTINGUISHED ARTIST AWARD George Lindsey From Weekly Series to Lifetime Achievement by Terry Pace

ans of The Andy Griffith work television, playing a wide range Show love and admire of dramatic roles in episodes of The FGeorge Lindsey for his Rifleman, and Alfred rib-tickling role as the beanie- Hitchcock Presents. The Andy Griffith capped , a series was already airing during that dimwitted but goodhearted time, with fellow Alabama native Jim filling-station attendant in Nabors playing the show’s first comical mythical town of , garage mechanic, . North Carolina. But by 1964, “I was considered for the Gomer when he first earned the cov- role, and I thought at the time that I eted role on television’s top- should have had the part because I had rated sitcom, Lindsey—win- more experience,” Lindsey explained. ner of the Alabama State “But they went with Jim, who turned Council on the Arts’ 2005 out to be marvelous. But at the time, Distinguished Artist Award— that was quite a blow.” was already an experienced Griffith and the show’s producers actor on the stage and TV and later offered Lindsey the one-shot role movie screens. Photo: Courtesy of the George Lindsey Collection, University North Alabama. “I think I had to do all of George Lindsey with Ethel Kennedy at an Alabama Special Olympics that before I was ready to play function. Lindsey helped raise $1.7 million for Alabama Special Goober,” Lindsey maintains. Olympics. “Without that experience, I don’t think the role on The Andy daring and momentous decision to Griffith Show ever would have hap- pursue an acting career in New York— pened. I needed to do all of those other where he studied at the American things—working on my range and Theatre Wing and eventually per- developing my voice—before I was formed on Broadway. ready to do that show.” “That stage experience helped me so The Jasper native attended Florence much,” Lindsey recalled, “having to State Teachers College (now the perform every night for a Broadway University of North Alabama), gradu- audience. You really had to be ready— ating in 1952. After finishing college, and I was ready.” Lindsey taught for a brief time at Hazel Lindsey eventually moved to

Green High School before making the California and began working on net- Photo: Courtesy of University North Alabama, Shannon Wells. George Lindsey receiving an honorary degree at UNA.

8 • ALABAMAARTS • STATE ARTS AWARDS 2005 of Dud Wash, the bumpkin boyfriend of Mayberry mountain girl Charlene Darling. “Something in the sky just Photo: Courtesy of Rerun Archives. Club (TAGSRWC) Watchers told me to turn George with Lulu Roman, Grandpa Jones, and Gunilla Hutton dur- that down,” ing a “Hee-Haw”stage show at Opryland during the 1990s. Lindsey remem- bered. “I’m glad I did, because had I hair. I don’t know if what I done it, I would have been too identi- did was unique, but it fied with that role to do anything else worked for me.” on the show. They never would have “The Jar” starred another Photo: Courtesy of the George Lindsey Collection, University North Alabama. considered me for Goober.” Alabama-bred talent, Pat Pat Buttram and George Lindsey doing voice work for the Walt Disney Before Lindsey officially joined The Buttram, in a rare and Company. Andy Griffith Show, the actor won a unforgettable dramatic role dream dramatic role on a as a simpleminded farmer who exacts 1964 episode of The Alfred gruesome vengeance on his unfaithful Hitchcock Hour, an expand- wife. The supporting cast featured some ed version of the suspense of Hollywood’s most beloved and best- master’s long-running half- known character actors, including James hour anthology series. Best, Collin Wilcox, Slim Pickens, Inspired by a grim, ghoulish , Jane Darwell, Jocelyn horror story by Ray Brando and Billy Barty. But in the end, it Bradbury, “The Jar” was set was Lindsey who stole the show from in the Louisiana swamps the older pros with his heartbreaking and featured Lindsey in a monologue about a haunting incident complex and challenging from Juke’s past. role as a gentle backwoods “I did that in one take—no close- simpleton named Juke. ups, no nothing,” Lindsey remembers “That part had already with lingering pride. “When I got been cast when I went in to through, everybody on the set was cry- read for it,”Lindsey noted. ing. All of those actors on the set had “I went in for the audition, tons of experience.” and I had learned that “Working on that show was like script word for word. I put being at the Forum, Yankee Stadium on a pair of overalls, and I and the Rose Bowl all at the same

hadn’t shaved for three or Photo: Courtesy of the George Lindsey Collection, University North Alabama. time—and I scored the winning touch-

Photo: Courtesy of University North Alabama, Shannon Wells. four days. I didn’t comb my A cast shot of The Andy Griffith Show. down.”

STATE ARTS AWARDS 2005 • ALABAMAARTS • 9 designed to launch a spinoff, Gomer Pyle, USMC. Nabors’ depar- ture left the door open for Lindsey to join The Andy Griffith Show cast as Gomer’s equally unusual cousin, Goober. “Doing a regular role on a weekly series was a big adjustment,” Lindsey confessed. “For one thing, you had to adjust to Andy being in charge and doing exactly what he told you to do— and he was always 100 percent right. Also, you begin to look at the way you work differently because you’re acting with the same people over and over again. Photo: Courtesy of the George Lindsey Collection, University North Alabama. The First George Lindsey Celebrity Golf Tournament held in Montgomery for the Alabama Special Olympics. Pictured left to right, Paul “For instance, I remem- “Bear” Bryant, Leroy Jordan, unidentified woman, George Lindsey and Earnest Borgnine.

The “Jar” television drama was go. He did a beautiful job with it— directed by longtime Hitchcock col- absolutely magnificent.” laborator Norman Lloyd, best remem- Soon after earning critical raves for bered for his sinister title role in the “The Jar,” Lindsey finally joined the legendary director’s 1942 thriller ensemble cast of The Andy Griffith Saboteur as well as his more recent Show. In the show’s first few seasons, performance as Dr. Auschlander on the character of Gomer had grown so the long-running medical series popular that the series’ producers St. Elsewhere. “They say that 80 percent of direct- Lindsey was the quarterback for the Florence State ing is casting,” Lloyd noted in a recent Teachers College Lions football team. He often says interview. “In the case of directing their main play was "Harlon, go long!" His team- George Lindsey in ‘The Jar,’ it was 100 mate and great friend Harlon Hill, of Killen, was the end who later became a record-setting player for the percent. All I had to do was cast George Chicago Bears and for whom the NCAA Division II in that role, roll the camera and let him most valuable player of the year award is named. Photo: Courtesy of University Relations, North Alabama.

10 • ALABAMAARTS • STATE ARTS AWARDS 2005 ber doing a Disney picture with a great group of actors, but after the movie was over, I never saw any of them again—ever,” Lindsey continued. “But when you’re working with your fellow actors every day on a series, your work has to maintain a certain integrity.” After The Andy Griffith Show left the airwaves in 1968, Lindsey reprised his Goober character for three seasons on a highly rated spinoff, Mayberry R.F.D., then joined the cast of the syndicated country-variety series Hee-Haw.He also appeared in memorable roles on , Banacek and a popular 1972 episode of M*A*S*H, television’s top-rated series at the time. “I got the M*A*S*H role on a Friday night,”Lindsey remembered, “and I had that weekend to learn the lines before we started filming on Monday.” Lindsey now lives in Nashville, but he spends much of his time perform- ing his live comedy act all over the country. The popular actor and enter-

tainer will perform during an Andy Photo: Courtesy of the George Lindsey Collection, University North Alabama. Griffith Show cast reunion at Opryland George Lindsey in an Alabama Special Olympics parade in Montgomery. this summer, and he’s the proud founder and host of the nationally renowned George Lindsey/University In its eight-year history, the festival’s science-fiction legend Forrest J. of North Alabama Film Festival at his special guests have included Lindsey’s Ackerman and other figures from the college alma mater in Florence. longtime friend, Oscar winner Ernest world of arts and entertainment. “We’re unique for a regional film Borgnine, as well as Alabama-based “When I was in school, there was festival, because we’re based at a uni- actor Lucas Black (Sling Blade), nothing at all available like this,” versity—so our focus is on using the Alabama-born writer-director Tom Lindsey noted. “If there had been, I festival as an educational tool,” Lindsey Cherones (Seinfeld), music producer might have been a lot better prepared observed. “The festival offers a chance Mike Curb and singer-comedian Ray for the professional work when I first once a year for students, aspiring artists Stevens. The George Lindsey Movie left Alabama and went to New York.” and independent filmmakers to come and Television Script Archive at UNA’s An inductee of the Alabama Stage together, share and showcase their Collier Library includes one-of-a-kind and Screen Hall of Fame, Lindsey work and learn more about the art and personal working scripts donated by recently signed to return for his sec- craft of filmmaking.” Borgnine, Black, “Jar” author Bradbury, ond season as host of the popular Photo: Courtesy of University Relations, North Alabama.

STATE ARTS AWARDS 2005 • ALABAMAARTS • 11 Turner South series Liars & Legends. brief appearance and a single line of voiceover work on the Disney classics He’ll also play the role of a Southern dialogue,” Holly explained. The Aristocats (1970), Robin Hood preacher in an upcoming independent “But after I talked to George and (1973) and The Rescuers (1977). feature called When I Find the Ocean, thought about putting him in the film, “I always thought I’d end up a co-starring Lee Majors, Bernie Casey, I realized how much he could do with movie character actor, like a latter- Alabama-born actor Richard Tyson that particular part. So I went back and day Chill Wills or Slim Pickens,” and Robert Redford’s daughter, Amy rewrote and expanded that scene just Lindsey concluded. “I’d like to do Redford. The movie is being filmed in for him. Now it’s one of my favorite more movies, and I know I’ve still got the Florence/Shoals area by Alabama- parts of the script.” it in me. I just have this feeling that based writer-director Tonya Holly, Lindsey’s return to feature filmmak- there are young directors out there who has worked with Lindsey on his ing marks the fulfillment of a longtime who are going to say, ‘I’ll bet George film festival at their mutual alma dream for the veteran actor, whose big- Lindsey could really play the heck out mater, UNA. screen credits over the years range from of this part.’ So I’m keeping my “I had written the role of the live-action roles in Ensign Pulver (1964) instrument tuned.” n preacher as very small—basically just a and Treasure of Matecumbe (1976) to

Terry Pace is the entertainment editor of the TimesDaily,a New York Times Regional Newspaper in Florence, Alabama. His is also an actor, director and producer who serves on the steering committee of the George Lindsey/UNA Film Festival and teaches film courses in the continuing-studies pro- gram at UNA. His written work has appeared in Cult Movies, Scarlet Street, Starlog, Fangoria and other national magazines. Photo: Courtesy of the George Lindsey Collection, University North Alabama. From left to right, Bill Jarnigan, Tom Cherones and George Lindsey. Tom Cherones, who had directed George in NewsRadio, was being inducted into a hall of fame at the University of Alabama, where he now teaches each spring. Tom was the first fea- tured guest for the George Lindsey UNA Film Festival. He was also a former director of Seinfeld.

12 • ALABAMAARTS • STATE ARTS AWARDS 2005 THE GOVERNOR’S ARTS AWARD Betty Grisham Teacher, Patron and Artist Extraordinaire by Clayton Bass

labama has a growing, An accomplished artist in national reputation as a her own right, her creative Aplace where a great diversity journey has had many inter- of the arts is fostered. Many individu- esting stages culminating als and institutions can claim respon- with a presentation of a solo sibility for propelling this reputation exhibition by the Huntsville forward. However, few people in Museum of Art (HMA) Alabama have made contributions to which closed in early 2005. the arts with such statewide impact as Betty Grisham’s personal art Mrs. Betty Grisham, a native of combines traditional hand- Athens, Alabama. Mrs. Grisham is a work such as embroidery and generous patron, advocate and volun- fabric dying with modernist teer whose dedication has nurtured elements such as abstraction and benefited numerous arts organi- and the use of bold patterns. zations across Alabama during the Her work evokes an earlier past fifty years. time when great value was Following her graduation with a placed upon objects that were BA degree from the University of hand made. An accomplished Montevallo in 1942, and a MA from painter and printmaker, Mrs. Columbia University Teachers College Grisham has numerous exhi- in 1945, Mrs. Grisham taught art at bitions to her credit, includ- the High Museum, the Westminster ing 14 successive solo shows School and the public school system in , Alabama, Photo: Courtesy of the Huntsville Museum Art. in Atlanta. She was an original mem- Mrs. Grisham addressing visitors at the opening of The World of Betty Mississippi and Texas. ber of the Board of Directors of the Grisham. Fascinated with textiles since Birmingham Museum of Art and ini- childhood, she developed this tiated its art education program. Her passion into successful busi- efforts established a vital role for the the Huntsville Museum of Art since its nesses in the 1970s and 80s that pro- Museum and reinforced a growing founding in 1970. She also served on duced original women’s apparel sold trend in Museum programs offered for the Museum’s Foundation Board and under the label “B. Grisham” in community enrichment. Following her in the Women’s Guild. She and her Alabama, New York and elsewhere, as move to Huntsville in 1963, she spear- husband Charles also provided funds well as exquisite hand printed silks for headed the establishment of the to name a major gallery in the new use in interior design. Speaking of her Huntsville Art League and supported Museum in 1998. influences and motivations Betty said,

STATE ARTS AWARDS 2005 • ALABAMAARTS • 13 “Winter’s fiery sunsets, I oped a strong interest in see and enjoy them the exquisite jewelry and everyday. Then I do silver creations of drawings that become Buccellati in Milan, Italy. other works. Things that Although she began are growing—nature, I purchasing pieces for her come back to it more own enjoyment, in recent and more. Changes of years, Mrs. Grisham has the seasons and the sub- given the Huntsville tlety of nature inspire Museum of Art my work. I have studied numerous silver art history and see great Buccellati animals. This value in all periods. Photo: Courtesy of the Huntsville Museum Art. group of works is now Georgia O’Keeffe was an This exquisite lion is one of 13 Buccellati animal sculptures donated to the Huntsville Museum of the largest collection of its influence. Inspiration Art by Betty Grisham. As a result of Mrs. Grisham’s donation, the Museum has the world’s largest type in the world. In a collection of Buccellati Animals. comes from many recent interview Mrs. sources.” Grisham explained her Although “unique” is often initial attraction to the overused, when it comes to work.“Having designed Grisham’s art works or dyed and made jewelry myself, fabrics, the term truly I saw a great sensitivity in applies, for each work is dis- Buccellati’s craftsmanship tinctive, yet contains her dar- and designs. His silver ing use of color, gesture and animals can inspire chil- design. Her work is alive with dren because they can her spirit, vitality and sense relate to them. Children of humor. can even make their own Through her generous animals out of paper support to the University at inspired by the silver Montevallo, the Art ones. It’s the art teacher in Department was able to me that wants to help expand its printmaking pro- children connect to their gram to include large format creativity.” prints on silk fabric. Works Mario Buccellati, who created by students from this founded the House of program were donated to the Buccellati in 1919, origi- Huntsville Museum of Art nated the “Buccellati and are on display in its style” which is comprised Great Hall and conference of techniques from the facilities. Renaissance period, a Photo: Courtesy of the Huntsville Museum Art. During the past two Betty Grisham, (b. 1921, Birmingham, AL) Converging Patterns, 1975 silk gros point, 19 x combination of luxury decades Mrs. Grisham devel- 17 inches. Collection of the Huntsville Museum of Art, gift of the artist. materials, plus an exten-

14 • ALABAMAARTS • STATE ARTS AWARDS 2005 Photo: Courtesy of the Huntsville Museum Art. Betty Grisham (b. 1921, Birmingham, AL), Portrait of Snowy, 1956, oil on canvas, 42 x 54 inches. Collection of the Huntsville Museum of Art, gift of the artist, image of her beloved cat. sive use of texture engraving to create tradition of Italian craftsmanship alive. Smith Museum of Art at Auburn objects of extraordinary beauty. Buccellati silver animals replicate crea- University, adding yet another jewel in Buccellati’s unique style is favored by tures from earth, sea and sky in a highly the State’s crown of arts organizations. discriminating clientele that include the realistic manner that captures details When asked to reflect on her contribu- Vatican and the Royal Houses of Italy, like feathers, hair, or different types of tions to the arts in Alabama she said, Spain, Belgium, England and Egypt. skin. The Huntsville Museum of Art “Now we have art museums in many The Buccellati tradition is carried on will begin a major national traveling cities across the state. When I started today by Mario’s son Gianmaria, who exhibition of its Buccellati collection out there were none. It is thrilling to see serves as the primary designer. An beginning in 2007. how much things have changed. Art internationally renowned silversmith, In recent years Mrs. Grisham and museums are here to benefit everyone. he has dedicated his life to the creation her late husband Charles supported the You don’t have to be rich to walk in the of extraordinary objects that keep the establishment of the new Jule Collins door. My involvement in helping to

STATE ARTS AWARDS 2005 • ALABAMAARTS • 15 bring several art museums into existence in Alabama has been very satisfying. Now we have many great museums for people to enjoy.” Truly Betty Grisham’s com- mitment to the arts and culture in Alabama continues to redefine and enhance the arts for Alabama’s citizens, visitors and for generations to come. Her generosity and creativity touch thousands of people everyday— many who know her and many that never will. She is truly one of a kind. ■ Photo: Courtesy of the Huntsville Museum Art. Clayton Bass is President In October 2004, the Huntsville Museum of Art presented The World of Betty Grisham. This exhibition presented a selection of fabrics, paintings, works on paper, needlework, and wearable art created over the artist’s remarkable 50-year and CEO of the Huntsville career. Museum of Art. Photo: Courtesy of the Huntsville Museum Art.

16 • ALABAMAARTS • STATE ARTS AWARDS 2005 THE GOVERNOR’S ARTS AWARD Bobby Horton Understanding the Soul of American Music by William M. Jarnigan

nsley was a vibrating, magical place for a young boy, saddled to Ehis bicycle, to grow up in the 1950s. Bobby Horton lived “a mile from everything.” In a young child’s kingdom, he was rich. He was near such attractions as the Birmingham International Raceway (or BIR, as the locals called it), the state fairgrounds and Rickwood Field where the Barons

Photo: Courtesy of the Huntsville Museum Art. and the Black Barons played. Five Points West was about a half mile away. What more could a lad want when he and his pals could listen to the vroom of the stock car engines revved by future NASCAR greats, eat cotton candy and ride the Ferris wheel or catch a Southern League baseball game with future major league stars like Jimmy Piersall. And when he closed out the day at the Horton home in Belview Heights, he would be influenced by the mourn- ful country tunes of the late Hank Williams, favored by his father, and the ’30s and ’40s jazz played by America’s

big bands, many peopled by musicians Photo: Courtesy of Bobby Horton. schooled by John “Fess” Whatley at Bobby Horton and his music has been featured in numerous magazine and newspaper articles. nearby Industrial High School (now Parker). Within a baseball’s throw of lieutenant Glenn Miller had made him play. The loss of the senior his neighborhood was the famed famous. Horton’s mother would also Horton’s bottom front teeth during Tuxedo Junction which Ensley native have classical music playing. World War II had stolen his Erskine Hawkins and former He knew his father had been a embouchure. Young Bobby wanted to

Photo: Courtesy of the Huntsville Museum Art. Montgomery-based Army Air Corps trumpet player, but he had never heard emulate his dad; he wanted to play the

STATE ARTS AWARDS 2005 • ALABAMAARTS • 17 Confederates. A mushrooming interest in the history of that conflict began consuming him. All the cultural and musical influ- ences that immersed him were just a part of life for a Southern lad. Then in the seventh grade, the for- mal music training started with band director Joel B. Harrison, who, Horton today says, was “wonderful,” especially by how he inspired the students to play well. Harrison formed a Dixieland band, with Horton as a member, and took them to Jackson, Mississippi to perform for the first time. The “perfor- mance bug” had bitten the youngster. In the socially and politically turbu- lent Sixties, Horton played in rock and

Photo: Courtesy of Bobby Horton. roll bands around Birmingham. While An assortment of Bobby’s many musical instruments. in school in Ensley, he first met Jerry Ryan, who was in his initial year there as a basketball coach. Ryan would sit in horn after finding it tucked away, like a house, the old man would ritualistically occasionally with Horton’s band. After dream of yesterday. rise every Sunday morning at 5:30 and high school, Horton enrolled across During his early summers, he expe- wake up the whole house to the town at Samford University to study rienced another musical influence. His gospelizing of the Chuck Wagon Gang accounting and economics. Ryan got a maternal grandfather “Pop” Camp was on a radio, played very loud to com- job there as the freshman basketball an old time picker, who played what he pensate for his fading hearing. Then coach. When Samford public relations called double knocking banjo, referred they would watch the Wally Fowler guy Warren Musgrove asked Ryan if he to today as drop thumb flailing or claw show on TV.Another feature was the knew someone who could play banjo, hammer style. Often when Camp who would host several the latter replied to the affirmative and would be sitting on the front porch of greats on The Gospel got Horton, then a junior, to accompa- his Clay County home, dropping his Jubilee syndicated show. ny him to play at Musgrove’s budding thumb, neighbor Howard Hamil On his father’s side of the family, Horse Pens 40 folk music festival. They would pull up in his pickup, deposit Horton’s great-great aunt Mary was made $10 for twice playing a seven- his hat on the dashboard, yank a fiddle married to Paine Denson, one of the song set. As a result, the duo began get- from the back of the vehicle, set a spit famed Sacred Harp songwriters and ting gigs to play . After can on a paper sack and join the pick- singers from Winston County. adding an upright bass player, they ing, kicking off with “Leather Britches.” When he was eight, during the cen- took the name Three On a String Young Horton was also blessed with tennial of the Civil War, the sixth gen- around 1971, and began developing a another of his grandfather’s musical eration Alabamian learned that his stage act that was musically based, but interests. In that Lineville country ancestors had fought on the side of the accented with comedy. Meanwhile,

18 • ALABAMAARTS • STATE ARTS AWARDS 2005 Horton graduated and began program- 1863. Horton laid ming mainframe computers for down the founda- Liberty National insurance company, a tion for the score day gig he held for seven years. Ryan with a finger- had become a high school principal. picking guitar As the demand grew for their play- part before going ing, Horton says they “stumbled and into a studio to bumbled” their way in a full-time add strings and career as musicians. woodwinds. That With Ryan’s close ties with session convinced Musgrove, they were able to build a fan him he could do base at Horse Pens 40 in Blount more of this. County and at the Lowenbrau House While researching in Birmingham. Through those gigs, for period music they became friends with such genre to use in the film, greats as self-proclaimed father of blue- Horton discov- grass , his popular disciples ered thousands of Flatt & Scruggs, the prominent Ralph songs dealing Stanley, Grand Ole Opry stalwarts Sam with the travails and Kirk McGee, Doc Watson and the of the war. He young upstarts, and Mark was also collecting O’Connor. an assortment of Three On a String allowed Horton period musical to begin spreading his wings. He added instruments, Photo: Courtesy of Bobby Horton. trumpet to his repertoire. They were including brass Bobby Horton in period costume. playing bluegrass, big band, swing, and percussion classical, Irish, folk and old-timey pieces, strings of all kinds and whistles. time he produced half a dozen volumes music, without limiting the style and At the behest of friends in the Sons of the music, he attracted the attention instead, concentrating on the tune. As of the Confederacy, he recorded some of American Heritage editor Richard the unique three-part harmony of of the tunes and began selling cassettes. Show, who was serving as an advisor of Three On a String became more and A passion became an obsession to meet Ken Burns’s Civil War documentary more popular, they even performed the demand. Dressed in period cos- project. Show suggested Burns contact with the Alabama Symphony. tume and playing instruments of the Horton. As a result, he was able to get a Meanwhile, Horton began doing side period, Horton began performing a version of “Dixie” on the soundtrack. projects with a little four-track recorder one-man concert/lecture series, “Songs That and his other Civil War music he had bought and set up in a spare and Stories from the Civil War,” coast projects led Blue and Gray Magazine to bedroom. to coast, from the Vermont State House term Horton “the premier artist of 1984 was his watershed year. Milt to Baruch College in New York and Civil War music.” Bagby hired him to compose the San Diego State University in Horton was captivated by the rich- soundtrack for Shadow Waltz, a feature California. The Delta Queen and ness of the Civil War music. The song- film about a War Between the State’s Mississippi Queen steamboats had him writers “wrote about every aspect of love story set in southern Indiana in on their inland river cruises. By the life.”The songs were sung by the people

STATE ARTS AWARDS 2005 • ALABAMAARTS • 19 while one of the most “horrendous read a dozen books, or spend an hour times to be an American” was occur- listening to Bobby Horton.” ring. Afterwards, they wrote more tunes Horton has scored two A&E pro- about what they had experienced. The jects and 10 National Park Service story song tradition is one that has videos. Calling on his past career, he been the language of time, tying togeth- worked on two computer games of er generations and cultures. Civil War battles. Now Horton has recorded 14 vol- American to the core, Horton umes of the Civil War period music, scored the music for the James Earl with six being of Confederate songs. Jones-narrated The Voice of Gladdened Burns was impressed enough with Hearts, the story of the 1896 rescue of Horton’s Civil War contribution to the E.S. Newman of the coast of North query him about providing a rendition Carolina by the only all-black U.S. of “Take Me Out To The Ballgame” for Coast Guard lifesaving crew in an upcoming documentary on base- American history. The film premiered ball. And he did, to excess. He provided in February 2005. the filmmaker numerous versions of As this fun-loving, Renaissance Photo: Courtesy of Bobby Horton. the song in a variety of styles—classical man, brings his diverse talents to these Bobby Horton on acoustic bass. guitar, a “Mozarty sort of thing,” recording projects, Horton is also pre- Southern rock, big band, etc. serving a part of American musical William M. Jarnigan is the University More Burns projects followed for history that might otherwise be lost of North Alabama Director of Horton—Thomas Jefferson, Lewis & forever, because sheet music, the only University Relations, is a former

Clark, Frank Lloyd Wright, Not for recording of the works at the time, executive director of the Muscle Shoals Photo: Courtesy of Georgine and Jack Clarke. Ourselves Alone: The Story of Elizabeth deteriorates or is discarded. The Music Association and a former board Cady Stanton and Susan B. Anthony Alabama Music Hall of Fame has pre- member of the Alabama Film and Horatio’s Drive. A chance perfor- viously recognized his and Three On a Commission and the Alabama State mance with a Samford opera singer String’s contributions to music with a Council on the Arts. provided Horton with “Beech Spring,” Governor’s Achievement Award. Now a 1759 hymn that he shaped for the the Alabama State Council on the Arts opening of the Lewis & Clark film, of is presenting him a Governor’s Art which he also composed “Clark’s Award for his undying contributions. Theme” and the conflict theme. To paraphrase the last couplet of Burns has said, “I don’t believe I’ve “Stonewall’s Requiem,” one would met anyone quite like Bobby in the hope that Bobby Horton’s “music ability to understand the soul of shall live forever link’d with reverence American music.” and love.” ■ Author and historian William C. Davis, of Civil War Journal fame, adds, “Bobby Horton is unfailingly enter- taining and unself-consciously infor- mative. If you want to understand Johnny Reb and Billy Yank, you can

20 • ALABAMAARTS • STATE ARTS AWARDS 2005 THE GOVERNOR’S ARTS AWARD Jimmy Lee Sudduth His Work is REALLY Down to Earth by Margaret Lynne Ausfeld

low man that force the viewer to stop, consider, and appreciate the simple beauty of the world we all share. Jimmy Lee was born March 10, 1910, at Caines Ridge, a small commu- yy nity in west Alabama near Fayette. His mother, Balzola, was a medicine woman of Native American descent who used wild plants in her medicinal preparations. While accompanying his mother in the woods one day, the young boy created his first painting in mud on a tree stump. This painting survived until their next visit and his

Photo: Courtesy of Georgine and Jack Clarke. mother believed that this was a sign he should continue to paint. Samples of Sudduth’s work are displayed around a tree at the Kentuck Festival of the Arts, Tuscaloosa. Jimmy Lee Sudduth was a major draw for the festival with collectors traveling great distances to purchase his paintings. He did so, but his art remained an avocation for many years until he was afforded more time to pursue it immy Lee Sudduth, a native of earth and refined, mixing them with later in life. Fayette, is a well-known figure in sugary liquids to solidify them and The history of Jimmy Lee’s art mak- JAlabama art circles and has been bind them to the support. Over time ing career is integrally connected to the for many years. Anyone who has visited he came to utilize various types of experiences of a long and productive the annual Kentuck Festival of the Arts paint and other natural materials and existence. It is clear that his art was in Northport will remember him—he’s processes, and in studying his work inspired by his own interests, and not the one surrounded by dozens of anx- today we discover a compendium of by the marketplace. In 1963, Robert ious admirers lined up hoping to buy a styles and techniques to rival the most Martin, a young reporter for the painting. However at ninety-five years adventurous of schooled artists. In Florence Times Tri-City Daily newspa- of age Jimmy Lee is not just well addition to his technical experimenta- per (July 14, 1963), interviewed the known in his home state—rather he is tion, Jimmy Lee’s work is characterized artist, who recalled his artistic begin- one of the “elder statesmen” of black by the most ineffable of elements—a nings. “I started when I was eight, just folk art in America. His paintings are sense of joy in living. His works are drawing on the ground,” he said. “Later distinctive, created primarily from vari- honest, powerful expressions of appre- on though, I began to draw on paper.” ous colors of clay that he dug from the ciation for his environment and his fel- He told the reporter he had never had

STATE ARTS AWARDS 2005 • ALABAMAARTS • 21 any training in art, “except what I’ve learned myself in the experience.”At the time of the interview, he was employed as a gardener, after having worked many years as a farm laborer, and then in a local gristmill and, still later, a lumber mill. Typically, the reporter left his interview with a paint- ing by Jimmy Lee in his car, the artist’s gift to a young admirer. Jimmy Lee rev- eled in the happiness his paintings

brought and he gave them away freely Photo: Courtesy of Georgine and Jack Clarke. to those who asked for them. Georgine Clarke, Visual Arts Program Manager, Alabama State Council on the Arts, visits with Jimmy Lee Sudduth, a regular exhibiter at the Kentuck Festival of the Arts, 1996, Tuscaloosa. Perhaps the most important influ- ence on his evolving career as a rec- ognized artist was Jack Black, means of self-expression it was by no who was a neighbor and the means the only one. In previous years publisher of the local newspa- he created porch decorations, per. It was Mr. Black, who was Christmas displays, and painted the also the founder of the Fayette walls of his house with decorative Art Museum, who encouraged patterns. He has musical talents as his friend to continue to paint well—he’s been known to entertain his and sought out recognition for visitors by singing and playing the blues his work. He helped to arrange on his mouth harp (harmonica). Jimmy Lee’s first exhibition at Appreciation for Jimmy Lee’s work the Stillman College art depart- obviously spread beyond west Alabama ment in 1969. He was featured at many years ago, but the local commu- the Smithsonian Institution’s nity embraced the artist and his Bicentennial Festival of American creativity. Thanks to the Kentuck Folklife in 1976. This was fol- Festival and the Fayette Arts Festival, lowed by a one-person exhibition his works have found homes very close at the Birmingham Museum of to his own home.“You drive around Art in 1978, and by an appear- town, you’ll see my work all over the ance on NBC’s Today show in place. I can hardly believe it myself,”he 1980. Thereafter his work once said. received increasing exposure and To make paintings Jimmy Lee tradi- the market was established. Over tionally used a combination of clays he the years he has been included in dug from the surrounding area mixed almost fifty exhibitions in the with a sugary substance as a binder

Courtesy of the Fayette Art Museum. United States and . (and sometimes incorporating com- Jack Black, his wife Margaret and daughter Clair help Jimmy Although painting using mercial paint) as a medium. His own Lee Sudduth celebrate his 94th birthday at the Jimmy Lee Sudduth Gallery, Fayette Art Museum. natural clays was his primary term for this distinctive blend is “sweet

22 • ALABAMAARTS • STATE ARTS AWARDS 2005 mud.” Over the years he has practiced a variety of means in using these simple materials. He applied them with his fingers, sticks, brushes and other implements. He used soft clay rocks to draw his designs and provide a soft, pastel-like finish to works that contrast strongly with those created from heavi- ly applied coatings of mud. He’s employed plant materials as stains and even charred the surfaces of boards to

Photo: Courtesy of Georgine and Jack Clarke. make a rich, silky, deep black finish. Seemingly his ingenuity is endless— when he was dissatisfied with shades of black achieved by other methods, he reportedly used lawnmower exhaust to smoke a passage to the desired color. Some of the earliest known works from the 1960s suggest his fascination with architecture and with architec- tural forms. He made pencil drawings on the back of the plywood boards he used as supports, reproducing the planes of houses in perspective to suggest depth in space. On the reverse of these boards he created carefully Photo: Courtesy of Georgine and Jack Clarke. crafted depictions of the structures Playing the blues on his harmonica is a favorite pastime for Sudduth. using clay, paint, organic materials, and sometimes affixing actual stones to the surface. Some of his most dis- dents of west Alabama, to the larger a series of dogs he has owned as pets, tinctive and powerful works are world he knows mostly from popular collectively known as “Toto.” He has buildings familiar from his local envi- media. He also created images that also made many portraits of people, ronment—everything from the mod- convey his very different urban experi- obviously reveling in the diversity of est vernacular log houses that were ences, especially his visit to the their presentation and dress. An once common in west Alabama, to American Folk Life Festival in enthusiastic man of positive outlook, the majestic Fayette County Court Washington, D. C., in 1976. His mem- he conveys his fascination with the House, with its classically-inspired ories of that trip and Washington’s people he portrays by spontaneous, colonnade and dome. multistory urban buildings are evident gestural depictions of their features, Jimmy Lee’s choice of subjects in many of his compositions after that hair and clothing. In recent years the beyond architecture remains complex trip. Throughout his career, wildlife artist has been less able to do the hard and wide-ranging: from people, ani- such as squirrels, turtles and snakes are work of digging and preparing clay, mals and situations familiar to resi- portrayed, along with many images of and thus has turned to painting his

STATE ARTS AWARDS 2005 • ALABAMAARTS • 23 favorite subjects with acrylic paints on plywood boards. Jimmy Lee Sudduth is one of a Margaret Lynne group of artists whose creativity has Ausfeld is Curator of expanded the boundaries of what was Paintings and once considered mainstream art in the Sculpture at the twentieth century. These artists, now Montgomery Museum usually categorized as self-taught, have of Fine Arts. an enthusiastic audience of collectors and admirers who appreciate the strength and heart-felt sincerity of their productions. Both the artists and collectors are passionate advocates of basic human values and emotions, expressed in an astounding array of media and subject matter. Work like that by Jimmy Lee was once considered merely odd or eccentric—now it is

cherished for its originality, its sense of Photo: Courtesy of Georgine and Jack Clarke. joyous spirit, and its evocation of the Relaxing in his studio, and sharing a story or two, Jimmy Lee is always happy ways of life in the rural South. ■ to stop for a visit. Photo: Courtesy of Georgine and Jack Clarke. Jimmy Lee Sudduth completing a piece of work with his unique signature and a paint pen. Photo: Courtesy of Georgine and Jack Clarke. Samples of Sudduth’s paintings.

24 • ALABAMAARTS • STATE ARTS AWARDS 2005 THE ALABAMA FOLK HERITAGE AWARD Margie and Enoch Sullivan Pioneers of Bluegrass Gospel Music by Anne Kimzey

very two years the Alabama “My Daddy played guitar State Council on the Arts pre- and we would gather Esents the Alabama Folk around in the living Heritage award, its highest honor for room by the old fireplace the folk and traditional arts. The 2005 and he would take the recipients are Margie and Enoch guitar and we’d all sing Sullivan, of the legendary Sullivan together,” she said. “And Family band from St. Stephens, when I showed an inter- Alabama. est in learning, at about The Sullivans, pioneers of the age of 8 or 9, he start-

Photo: Courtesy of Georgine and Jack Clarke. Bluegrass Gospel music, have per- ed showing me the formed together for more than fifty chords and the timing.” years. Enoch attributes their long and Margie’s first talent was successful career to “good friends, and singing. “I wanted to the good Lord, and hard work.” accompany myself, not Through the years, the Sullivan necessarily become a Family band has played for congrega- master musician,” she tions in small country churches and said. Her soulful alto cre- entertained audiences at major festi- ates a depth of feeling in vals across the U.S. and Europe. They her songs. She was influ- have appeared on the Grand Ole enced by country musi- Opry and were inducted into Bill cians she heard on radio Monroe’s Bluegrass Hall of Fame in KWKH - Shreveport, Bean Blossom, Indiana and the Old such as Mac Wiseman, Photo: Aimée Schmidt. Time Country Music Hall of Fame in Margie and Enoch Sullivan at a festival in Gadsden. Johnny Wright, Kitty Anita, Iowa. They continue to keep Wells, Jack Anglin and up a busy touring schedule, and are on two festivals a year: the Dixie the Bailes Brothers. “They were a great the road nearly 300 days per year. Bluegrass Gospel Fest in May on influence on me because they sang a When they are not touring, the Mothers’ Day weekend and the lot of gospel music,” she explained. Sullivans live on the old home place Sullivan Family Homecoming on the Margie and her father sang together Photo: Courtesy of Georgine and Jack Clarke. in St. Stephens where they raised their third weekend in October. in church. When she was 13, her father five children. The property includes a Margie Sullivan was born Margie died, and she left home to travel with 69-acre bluegrass park, complete with Brewster in Winnsboro, Louisiana. She evangelist Hazel Chain, who needed a camping facilities. There they host first learned music within her family. singer and musician. “My mother

STATE ARTS AWARDS 2005 • ALABAMAARTS • 25 thought it would be a good thing for called ‘frolics’ me to do, which it proved to be,” then. You Margie said. She and Sister Chain trav- know, regu- eled to revivals and camp meetings lar, old-fash- throughout Louisiana, east Texas, ioned dances Mississippi and Alabama. in neighbors’ Enoch Sullivan began playing music homes on the

at a young age also, first learning the weekends,” he Photo: Courtesy of Margie and Enoch Sullivan. guitar, then mandolin, then fiddle. He said. “But The Sullivan Family often performed at churches throughout the Southeast. was eight years old when he began when my “church work.” He also came from a Dad converted, he was really a funda- Jackson, Alabama and five mornings a musical family. His father, the Reverend mentalist. Pentecostal Holiness people week in Thomasville. They worked Arthur Sullivan, played mandolin, fid- didn’t believe in playing worldly music. with Enoch’s father, Arthur, who con- dle and guitar. His grandfather played We completely stopped playing any- tinued to play music and preach the banjo in the old dropped-thumb, or thing but religious music or gospel gospel until he died, suddenly, in 1957. clawhammer, style. His grandfather music, sacred music.” The group wondered if they could and cousins used to play “what we Margie and Enoch met at a revival continue, but “the people insisted we service in keep going, keep playing,” said Enoch. Sunflower, The Sullivan Family band also includ- Alabama in ed Enoch’s brother Emmett who 1946. She played banjo with the group until his was 13 and death in 1993. he was 15. Many of the songs the Sullivans per- Three years form today are the time-honored, later the two gospel standards they have been play- married. Very ing since their early days, such as “This soon after, World is Not My Home,”“Just Over in they began Glory Land,” and “Where the Soul performing Never Dies.” One song that brings back with Arthur memories for Margie is “Brush Arbor.” Sullivan for a “I learned that from George Jones,” she live radio said. “I related to that because, in my program on early life, I went to the brush arbors,” WRJW in which she described as “a makeshift Picayune, place to have church.” She said, “I think Mississippi. brush arbors were put up as communi- Later they ty places where everybody could come performed regardless of what your faith was, and every Sunday enjoy good gospel singing and good for seven preaching.” These arbors were con- years on structed with poles and rafters, “and

Photo: Courtesy of Margie and Enoch Sullivan. WPBB in then they put brush over the top, Dressed and ready to perform in an earlier photograph.

26 • ALABAMAARTS • STATE ARTS AWARDS 2005 which helped with the sun. It didn’t do have this kind of music.” This desire to are available for purchase through their much for the rain.”At night they were pass the tradition on to the next gener- website at www.thesullivanfly.com . lit with kerosene lamps, she said. She ation has coincided with the goals of One of their recordings, The Sullivan likens these outside meeting places to the Alabama State Council on the Arts’ Family Remembers the Louvin Brothers the outdoor festivals where they per- Folk Arts Apprenticeship Program, pays tribute to fellow Alabamians form now. which has provided past recognition Charlie and Ira Louvin. The Sullivans Over the years, the Sullivan Family and support for Enoch Sullivan’s work first met the famous brother duo while

Photo: Courtesy of Margie and Enoch Sullivan. has nurtured a number of younger with apprentices. performing on a Grand Ole Opry musicians in the blue- grass gospel tradition, including country music star Marty Stuart, who got his start with the Sullivan Family when he was 12 years old. Would-be appren- tices audition for the valuable opportunity to go with the band on the road. “They have to have a natural talent. No matter how much they’ve learned by the book, unless they have a natural talent and feel- ing for the music, it’s hard for them to play this kind of music,” said Margie. She credits

Enoch with a sense for Photo: Aimée Schmidt. picking out students The Sullivan Family during a touring and performance break. who will learn and stick with it. He can tell if young musicians In addition to the Folk Arts Show in Mobile. “They sang with so have “the heart and soul for it.” He has Apprenticeship Program, the State Arts much feeling and Ira wrote so many a gift for working with people, she Council has had a long association good gospel songs,” said Margie. “They said. “But more important, he had the with the Sullivan Family, presenting the were of the people. They sang about knowledge that unless younger people group at state folklife festivals and tra- regular people like you and me.”After were taught and learned the feel of the ditional music concerts and promoting Ira Louvin’s death, the Sullivans helped music and how to do it, that would be them through the statewide Arts Charlie with his festival near Ider, something that would be lost in the Touring roster. Alabama. shuffle. And he felt like it was really The Sullivan Family has made The Sullivan Family had the oppor- important for our people always to numerous recordings, many of which tunity to play with many notable fig-

STATE ARTS AWARDS 2005 • ALABAMAARTS • 27 Photo:Courtesy of Margie and Enoch Sullivan. A recent photo of Margie and Enoch still enjoying performing for audiences.

ures in country and bluegrass, includ- ing “the Father of Bluegrass Music,” Bill Monroe. It is said that Bill Monroe was the first to describe the Sullivan’s music as “bluegrass gospel.” “We had a lot of good years. And sometimes back in the early years, it was lean times,” said Enoch. “But there was one thing we always had going for us. We didn’t mind working. We loved the work, and we enjoyed meeting

people and being on the road.” Margie Photo: Courtesy of Margie and Enoch Sullivan. agreed, and added, “What we had An early photograph of the band. Enoch’s father, the Reverend Arthur Sullivan is standing on the right, holding going for us too, was a lot of people the mandolin. that really loved us and supported us. And most of all we had the blessings Sources for this article: of the good Lord on what we did. And Radio interview of Margie and Enoch Sullivan by Steve Grauberger, which aired August 19, 2003 on WTSU, I credit that being the reason for the Montgomery. ■ Essay by Erin Kellen, “Margie Sullivan: Mother of Bluegrass Gospel,” from In the Spirit: Alabama’s Sacred Music success we’ve had.” Traditions, edited by Henry Willett, 1995. Black Belt Press, Montgomery. The Sullivan Family: Fifty Years in Bluegrass Gospel Music by Enoch and Margie Sullivan with Robert Gentry. Edited Anne Kimzey is a Folklife by Patricia Martinez. Sweet Dreams Publishing, Many, Louisiana, 1999. Specialist for the Alabama State Council on the Arts.

28 • ALABAMAARTS • STATE ARTS AWARDS 2005 THE ALABAMA HALL OF HONOR SPECIAL AWARD “The Queen of Gospel Music” by Beth Chapman

ultiple Grammy and Dove award-winning artist, and Mrenowned member of the Gospel Music Hall of Fame, Vestal Goodman is a legend in the field of gospel music. Internationally known as “The Queen of Gospel Music,” and one of the founding members of the , along with her husband Howard and brothers-in- law Rusty and Sam, Vestal helped pioneer gospel music as we know and love it today. Born the daughter of Gordie and Mae Freeman, Vestal grew up in Alabama high atop Sand Mountain. She lived and worked on the family

farm with her four sisters: Jonnie, Photo: Courtesy of the Goodman family. Mildred Mary, Faye and Bobbie. She Vestal and Howard Goodman and the Happy Goodman Family entertained audiences for decades. had one brother, Claris “Cat”

Photo: Courtesy of Margie and Enoch Sullivan. Freeman, a renowned tenor in the Music. Vestal put her heart and soul Records in the sixties and they quickly field of gospel music. into her music. She had the innate abil- became the flagship artist of that pres- Like many great singers, Vestal ity to paint a picture with the lyrics of a tigious recording company. Goodman began her musical career in song like only a handful of recording Memories of waking up on Sunday the church—the Highway Church of artists can. She truly felt what she sang, mornings to the popular television God in rural, tiny Fyffe, Alabama. It and it was obvious. show Gospel Jubilee and The Happy was there that she sang her first solo at “God Walks the Dark Hills,”“What Goodmans singing; “I Wouldn’t Take age three, and the rest is history. a Lovely Name,” and “This is What Nothin’ for My Journey Now,” are still As a young girl, Vestal aspired to Heaven Means to Me,” are a few of her fresh in the minds of many sing at the Metropolitan Opera, but it trademark songs. Alabamians today. The music of Vestal became apparent early on that she was Vestal and The Happy Goodmans and the Happy Goodmans was as “called” and destined to sing Gospel recorded their first album with WORD much a part of life back then as were

STATE ARTS AWARDS 2005 • ALABAMAARTS • 29 all day singings, dinner on the ground During her five decade career, and ice cream socials. It was a south- Vestal recorded songs with leading ern tradition and The Happy musical artists such as Vince Gill, Goodmans, especially Vestal, would Dolly Parton, George Jones, Wynona become a southern legend. Judd, Lee Greenwood and . Vestal recorded her first solo album In addition, she sang with virtually on in 1975 and to date every gospel music recording artist millions of records including 15 num- ever to perform. Photo: Courtesy of the Goodman family. ber one hits have echoed throughout Over a decade ago renowned Vestal Goodman and Dolly Parton sharing a thousands of concert halls, churches Christian song writers and recording moment of laughter and fun. and homes across the globe. artists, Bill and gave birth to a series of television Goodman, each video project achieved and video spe- gold and platinum sales status. cials entitled the Bill Gaither referred to Vestal as a Gaither “national treasure” and said when you Homecoming heard Vestal you were hearing “the Series. Vestal most dynamic and greatest voice that and Howard has ever been heard in Gospel Music!” Photo: Courtesy of the Goodman family. Goodman were After five decades of concerts, tele- a major part of vision appearances, and speaking the revival of engagements around the world gospel music (including a diverse range of perfor- that occurred mances ranging from the Kennedy via the series. Center for the Performing Arts to the The series Grand Ole Opry and everything in topped the between), Vestal gained unequaled charts of the national recognition. With all of her worldwide accolades, fame and fortune, she was music industry. always proud to call Alabama her At one point, home, though many in other states Billboard she once lived tried to claim her for Magazine their own. ranked them While Vestal Goodman is one of number one in Alabama’s most award-winning daugh- all genres of ters, she never reached the level of music. Thanks prominence or recognition that many to the contribu- of Alabama’s successful sons and tions and popu- daughters have, simply due to her cho- larity of gospel sen career path. But if years of dedicat- music artists ed service and devotion to God have Photo: Courtesy of the Goodman family. such as Vestal anything to do with success, she could George Jones and Vestal Goodman performing together.

30 • ALABAMAARTS • STATE ARTS AWARDS 2005 y. l greatest honors to put Sand ami f Mountain and Fyffe, Alabama man

d on the map. Vestal Goodman died and went e Goo h t f “home” to be with the Lord on December 27, 2004, leaving behind wonderful memories oto: Courtesy o

h and a phenomenal musical P career that started on a rural farm in Alabama seventy-four years ago and continues to touch thousands of lives around the world today. Vestal Goodman will not only be remembered by the nation as “The Queen of Gospel Music,” but by Alabama as one of our most accomplished Photo: Courtesy of the Goodman family. natives and greatest contribu- Little Jimmy Dickens and Vestal Goodman backstage at the Grand Ole Opry. tions to the world.

easily be the most accomplished Alabama native in history. While there are many accom- plished and famous athletes, artists, actors, writers and musi- cians who have hailed from this great state, very few, if any, have had such an obvious and pro- found impact of the salvation and spiritual well being of so many people. Vestal Goodman and her family were never about winning hundreds of awards or selling mil- lions of records, though they did both. She and her family were about winning hearts and souls for God, and millions of those they won as well. Vestal Goodman was a Godly, multi-talented, successful woman Photo: Courtesy of the Goodman family. who considered it among her Vestal Goodman and Brad Paisley performing together.

STATE ARTS AWARDS 2005 • ALABAMAARTS • 31 Mrs. Goodman is survived by her and Howard’s daughter, Vickie Meadows and their son, Rick, who continues Goodman ministries—the legacy his parents started more than fifty years ago. It is in her loving memory and well deserved honor that the Alabama Senate and Governor Bob Riley at the request of State Auditor Beth Chapman and with the sponsorship of Senator Lowell Barron dedicated a por- tion of Highway 75 between Fyffe and Geraldine, Alabama as The Vestal Goodman Highway. n

Beth Chapman was elected State Auditor for Alabama in 2002 and is a published author of two books, one about Mrs. Goodman. Photo: Courtesy of the Goodman family. Howard and Vestal Goodman of The Happy Goodman Family visiting with former Alabama Governor, George Wallace.

32 • ALABAMAARTS • STATE ARTS AWARDS 2005 2005

AWARDS PERFORMERS

THE ALABAMA SYMPHONY ORCHESTRA QUARTET

CONCERTMASTER and Patrick Rafferty. He also studied chamber music with DANIEL SZASZ members of the Franz Schubert Quartet, Audubon Quartet, Violin Emerson Quartet, and Fine Arts Quartet. He attended Bowling Green State University in Ohio and The University Violinist and Alabama Symphony Orchestra of Alabama in Tuscaloosa. Concertmaster Daniel Szasz was born in Romania, in the Mr. Szasz has Transylvanian city of Sibiu. He began playing the violin at received numerous age six under the supervision of his father, a former princi- awards in national pal trumpet player with the Sibiu State Philharmonic competitions in Orchestra. At the age of eight he played his first solo recital, Romania as well as and at thirteen he performed his first concerto with a pro- international com- fessional orchestra. petitions which took In 1982, Mr. Szasz moved to the city of Cluj to study vio- place in Italy and lin with Mihai Wunderlich at the Cluj Music School and the United States, Music High School and later with Andras Agoston and including the "Public Prize" at the prestigious Vittorio Gui Victoria Nicolae at the Gheorghe Dima Music Academy. At International Chamber Music Competition in Florence, age nineteen, while still a student at the Music Academy, he Italy, playing with his wife, pianist Alina Voicu. Over the landed a position with one of the top orchestras in years, Mr. Szasz participated in several music festivals, Romania, the Cluj State Philharmonic Orchestra, with including the Graz Music Festival in Graz, Austria; the which he toured Europe extensively, recorded, and per- Sopron Music Festival in Sopron, Hungary; the Blossom formed as a soloist on many occasions. Music Festival in Ohio; the Chautauqua Music Festival, New After graduating from the Gheorghe Dima Music York; and the New Hampshire Music Festival. Academy and following studies with Alberto Lysy at the Mr. Szasz continues to perform regularly in chamber International Menuhin Music Academy in Gstaad, music concerts and as a soloist with orchestras in the U.S. Switzerland, Mr. Szasz moved to the U.S. and continued his and Europe. He and Alina live Birmingham and are the violin studies with Vasile Beluska, Yair Kless, Gerald Jarvis, proud parents of Alex and Angela.

STATE ARTS AWARDS 2005 • ALABAMAARTS • 33 studied at Temple University in Philadelphia, receiving her MUSICIANS Master of Music Degree and Performance Diploma. OLGA SHPITKO Music has taken her to a handful of beautiful and inter- Violin esting places including Colorado, Florida, Idaho, Pennsylvania, South Carolina, Puerto Rico, Europe, Israel Olga Shpitko, Assistant Concertmaster, was born in and . In 2001, after three years in the New World L’viv, Ukraine, and received her Bachelor of Music, Master Symphony, Rene won a position with the Florida of Music and local Ph.D. degrees from the Moscow Philharmonic Orchestra, which unfortunately folded two Tchaikovsky Conservatory. While studying in Moscow, Ms. years later. In June of 2004, she completed a one year posi- Shpitko toured many European countries with the tion with the Virginia Symphony in Norfolk, Va. She Symphony Orchestra of the Moscow Conservatory, she was makes her home in Birmingham with her two cats, Pete Assistant Concertmaster of the “Young Russian” State and Repete. Symphony Orchestra and performed as a soloist with the L’viv Symphony Orchestra. Ms. Shpitko attended many fes- JUN HOU tivals and played numerous concerts as a member of the Cello contemporary music ensemble “New Music Studio”. In 1995 Ms. Shpitko moved to , France to contin- Born in XinJiang, , Jun Hou entered the Beijing ue her professional studies, where she won First Prize at Central Conservatory (Middle School) at age fourteen. In the “Concours Musical Regional d’Ile de France” and 1987, he went on tour with the China Youth Symphony Second Prize at the UNESCO 8th International Orchestra to the USSR, Germany and Poland. In 1988, Jun Competition “Flame”. Hou won a prize at the Beijing National Competition. In 1997 she received the Lindred Scott Bendann Endowed After receiving his Bachelor of Music degree at Beijing Scholarship in Violin and the Heifetz Fund for Talented Central Conservatory, Mr. Jun Hou won a full scholarship at Young Musicians Award and came to study at the Peabody the Peabody Conservatory of Music at Johns Hopkins Conservatory of Music at Johns Hopkins University. University. While studying in Baltimore, he won second Olga Shpitko became a member of the Alabama prize at the Mary Graham Lasley Competition and gave Symphony Orchestra in 1999 and in 2001 won the position numerous solo and chamber music concerts in Washington, of Assistant Concertmaster. D.C. and Baltimore. He also attended many music festivals, including the Schleswig-Holstein Music Festival in Germany, RENE REDER the National Orchestra Institute, and the Blue Hill Chamber Viola Music Festival. Jun Hou joined the Alabama Symphony Orchestra in Violist Rene Reder joined the Alabama Symphony 1998. In 2000, he won a substitute musician audition at the Orchestra in 2004. She was born and raised in Tacoma, Chicago Symphony Orchestra and since then has been per- Washington, where she attended the University of Puget forming every summer in Ravinia with the CSO. Sound, earning her Bachelor’s Degree in music. She then

34 • ALABAMAARTS • STATE ARTS AWARDS 2005 2005

AWARDS PERFORMERS THE GARY WALDREP BAND

Records. Gary is an exceptionally good crowd pleaser with his old time clawhammer style of banjo picking. For this talent, he was named “The Old Time Player of the Year”for two consecutive years. This honor was awarded in Nashville, TN by the Society for the Preservation of Bluegrass Music in America. He is a Master Artist in the Alabama State Council on the Arts’ Folk Arts Apprenticeship Program.

DONNA TOWNSEL The Gary Waldrep Band is proud to welcome this very talented lady to the group. Not only is the bass player, she is The Gary Waldrep Band, from the community of Kilpatrick, Gary’s aunt. She provides the rock-solid bass timing needed, near Boaz, in northeastern Alabama, is among the finest old- as well as sings. She enjoys traveling and meeting people. time/bluegrass bands in the southeastern United States. The band performs with a traditional sound spiced with BILL EVERETT original songs and old standards, making them a favorite with Although Bill can play all the instruments in the band; acoustic music lovers across the country. you’ll see him on stage doing some great mandolin work. You will find Bill singing some fine lead, as well as tenor and bari- GARY WALDREP tone harmony vocals that blend great with the group. Bill Gary plays the banjo, fiddle, and sings lead and tenor for comes from Dallas, Georgia. the group. Raised on the musical traditions of Sand Mountain, including Sacred Harp singing, old-time MARK SQUIRES clawhammer banjo, fiddling and close harmony singing, Mark is a fiddle player from Fayetteville, GA. Mark started Waldrep previously performed with the Warrior River Boys, fiddling at the age of 7 and he grew up playing classical, Wendy Bagwell and the Sunlighters, and the Sand Mountain popular, gospel, country and bluegrass music. In the early 80’s Boys, before creating his own band in 1998. he played with groups in the Carolinas. Mark moved to Gary’s musical success is measured in many accomplish- Nashville in 1986 and played with Bill Monroe and the Blue ments. In 1990, Gary was nominated for a Grammy award for Grass Boys, The Bonnie Nelson Band, and Hubert Davis and his recording of “Vintage Bluegrass” on Old Homestead the Season Travelers.

STATE ARTS AWARDS 2005 • ALABAMAARTS • 35 2005

EXHIBITION The Alabama State Council on the Arts is proud to showcase the work of Alabama artists in its Montgomery gallery in the RSA Tower. Expressions of Place: Three Alabama Artists May 4 – June 27, 2005

it’s gone. Growing up in a small town and then moving to ANNIE KAMMERER BUTRUS the city, I never really understood just how connected I Annie Kammerer Butrus, Birmingham, holds a Master of was to Selma and the South as a whole. But with the pass- Fine Arts in Painting from the University of Notre Dame ing of time and my parents, I’ve begun to realize how and received a 2004 Individual Artist Fellowship in Visual much my hometown and its surroundings have shaped Arts from the Alabama State Council on the Arts. She who I am. These images are but a small part of a continu- said, “My paintings are meditations on changes in the ing study, a journey to my beginnings.” contemporary Alabama landscape. My interest … not being from Alabama—is to capture the experience and SAMANTHA RINEHART TAYLOR point-of-view of the farmer by documenting their land- Samantha Rinehart Taylor, Marion, is an MFA candidate, scape and the encroaching development before their way the University of Alabama, May 2005 and is an Adjunct of life, method of farming and habitation of the land dis- Professor of Art History at Judson College. She has appears entirely.” Her works on this theme have included worked with the Auburn University Rural Studio Fallen Fruit and installations at Space One Eleven for Program, completing a mural for The Music Man Project “BAMA,” Shadow: Seasons and Weather: Seasons. in Greensboro. Her works are about her home, the Black Belt of Alabama. She has harvested kudzu and uses its JERRY SIEGEL staining properties as a major element in her work, tying Jerry Siegel, of Selma and Atlanta, holds a degree from the material and concept. She said, “Through this close com- Art Institute of Atlanta and has worked as an advertising munion with place, the touching and gathering of the and corporate photographer for the last 18 years. On kudzu plant, I am connected to the actuality of the land… exhibit are photographs from his series Black Belt Color. It is my dream to share the lyrical, subtle and feeble beau- He said, “Sometimes you don’t realize what you have until ty of the Black Belt with a broad spectrum of viewers.”

36 • ALABAMAARTS • STATE ARTS AWARDS 2005 Alabama State Council on the Arts Staff AL HEAD Executive Director

BARBARA EDWARDS Deputy Director

RITA GRAY ALLEN Grants Assistant

JACQUELINE BERRY Executive Assistant

GEORGINE CLARKE Visual Arts Program Manager

YVETTE DANIEL Performing Arts Program Manager

WANDA DEJARNETTE Grants Officer

DIANA F. GREEN Art in Education Program Manager

JOHN MEYERS Gallery Assistant

BARBARA REED Public Information Officer

RANDY SHOULTS Community Arts, Design, and Literature Program Manager

DEXTER SMITH Security

VINNIE WATSON Programs Assistant

Alabama Center for Traditional Culture JOEY BRACKNER Director

JACKIE ELY Administrative Secretary

STEPHEN GRAUBERGER Folklife Specialist

ANNE KIMZEY Folklife Specialist

Alabama State Council on the Arts • 201 Monroe Street, Suite 110 • Montgomery, Alabama 36130-1800 Phone: 334-242-4076 • Fax: 334-240-3269 www.arts.state.al.us A

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