2005 arts award program

ALABAMAARTSVolume XXI, Number 1 State Arts Awards Issue 2005

MembersAlabama State Council on the Arts

BERNICE PRICECHAIRMANMontgomery

REBECCA QUINNVICE CHAIRMAN

Huntsville

FRANK HELDERMANSECRETARY

Florence

EVELYN ALLENBirmingham

JULIE HALL FRIEDMANFairhope

RALPH FROHSIN, JR.Alexander City

DOUG GHEEAnniston

ELAINE JOHNSONDothan

DORA JAMES LITTLEAuburn

JUDGE VANZETTA PENN MCPHERSONMontgomery

VAUGHAN MORRISSETTEMobile

DYANN ROBINSONTuskegee

JUDGE JAMES SCOTT SLEDGEGadsden

CEIL JENKINS SNOWBirmingham

CAROL PREJEAN ZIPPERTEutaw

Opinions expressed in AlabamaArts do not necessarily reflect those of the

Alabama State Council on the Arts or the State of Alabama.

STATE ARTS AWARDS 2005 • ALABAMAARTS • 1

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STATE ARTS AWARDS 2005

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ALABAMAARTS

Library of Congress Card No. 74628447

A Celebration of the ArtsAl Head, Executive Director, ASCA

Gloria Narramore MoodyMoody has Heart for City, the ArtsMichael Huebner

George LindseyFrom Weekly Series to Lifetime AchievementTerry Pace

Betty GrishamTeacher, Patron and Artist ExtraordinaireClayton Bass

Bobby HortonUnderstanding the Soul of American MusicWilliam M. Jarnigan

Jimmy Lee SudduthHis Work Is REALLY Down to EarthMargaret Lynne Ausfeld

Margie and Enoch SullivanPioneers of Bluegrass Gospel MusicAnne Kimzey

Vestal Goodman“The Queen of Gospel Music”Beth Chapman

2005 Celebration of the Arts Awards Performers

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 fromthe Alabama State Council on the Arts. This work expresses changes in the contemporaryAlabama landscape.

2 • ALABAMAARTS • STATE ARTS AWARDS 2005

Mission StatementThe mission of the Alabama State Council on the Arts is to promote Alabama’sdiverse and rich artistic resources while highlighting excellence and educationalexperiences.

The AgencyThe Alabama State Council on the Arts is the official state agency for the supportand development of the arts in Alabama. It was established in 1966 by an act of theAlabama Legislature. The agency supports not-for-profit arts organizations,programming in the arts for the general public, and individual artists. The State ArtsCouncil works to expand the state’s cultural resources and preserve its uniquecultural 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 moreaccessible to varied audiences is through a multi-faceted grants program whichcovers all disciplines and fields of creative expression.

The CouncilThe fifteen members of the Council are drawn from communities throughout thestate. They are appointed by the Governor for six-year terms, and selection is basedon expertise in the arts, business, or community affairs. The officers of the Councilare elected by its members.

The Council meets four times each year, at various locations throughout the state. Itapproves agency programs and policies, develops long range plans, and makes finaldecisions on state and federal grant dollars under its jurisdiction.

Alabama’s Council on the Arts


Alabama is blessed with an abundance of resources —many natural, some fabricated—but most are trea-sures that lie in the richness of our people. In fact,

the personality of our state can best be reflected throughexamples of human endeavor that are sprinkled across ourdiverse landscape. Human endeavor is evident in education,the corporate world, public service, cultivating the land, but,perhaps, there is no area where the unique footprint of ourpeople is better expressed than through the arts. In the visual,performing and literary arts, the best of the state of Alabamais represented through stories, images and sounds created bya wide range of talented artists.

The arts in Alabama are created, supported, taught,preserved and presented by some very special people. TheState Council on the Arts, every other year, recognizes a groupof these people and attempts to honor both personal accom-plishments and contributions to the state. The task ofchoosing a limited number of persons to spotlight is difficulton one hand, but incredibly rewarding on the other. There aremany to choose from. Their stories are remarkable. Theirimpact on the state is immense.

This year’s program not only gives us a great opportunity tothank some outstanding individuals for their service but alsoprovides an occasion to celebrate the arts and artists inAlabama. Public officials in the state are increasingly realizingthe important role the arts play in education, early and life-longlearning, cultural tourism, economic development, communityrevitalization and enhancing the overall quality of life for theentire population. We have a lot to celebrate and be proud of inthe state. The arts are a big part of the positive activity takingplace in virtually all of our communities, big and small. Therichness of the arts in Alabama need not be a “best kept secret”and the wonderful people behind the scenes making the artshappen deserved to be continually appreciated.

Our state, in many ways, is the sum total of the hundredsof communities that exist within it’s particular boundaries.It has often been said that communities do not stay thesame, either growth and progress occurs, or decline anderosion is realized. One of the consistent characteristics of aprogressive community is a vibrant cultural environment.You don’t have a vibrant cultural environment withoutcreative people, visionaries, supporters of ideas and dreams,those appreciative of quality and people who will give ofthemselves for the common good. The Council’s ArtsAwards Program is all about these kinds of people and thequality of life they enhance.

Finally, we hope the awards evening will be an inspirationfor other Alabamians to join with our honorees in moldingcommunities that reflect the cultural richness of our diversepopulation. The arts and artists of Alabama are indeed one ofour state’s most valuable resources and with a bit of nurturingthese resources can help our state be vibrant and progressivein all the right ways. n

Al Head is the

Executive Director

of the Alabama State

Council on the Arts.

A Celebration of the

A rtsby Al Head


Autographed pic-tures, many withpersonal notes,

line Gloria NarramoreMoody’s upstairs studio inher Redmont Park home.

Photos of ReneeFleming, YoYo Ma, SamuelRamey, the GuarneriQuartet, John Browning,Awadagin Pratt, EmanuelAx and other classicalmusic greats share spacewith thick scrapbooks ofnewspaper clippings,awards and other memo-rabilia. Yet to be hung werethe score and baton RichardWesterfield used for his final ASOappearance in May.

They’re reminiscences of a remark-able musical life that began as a prodi-gy and led to her status as one ofAlabama’s most respected and influen-tial arts philanthropists, and on May 4,she’ll be recognized at the AlabamaState Council on the Arts awards pro-gram when she receives the Jonnie DeeLittle Lifetime Achievement Award.

President of Alabama SymphonyOrchestra’s board of directors since

2001, Moody has been named to theboard of “From the Top,” the NPRradio program hosted by pianistChristopher O’Riley that showcasesyoung talent from around the nation.The Gloria Narramore MoodyFoundation, established by her latehusband, Frank Moody, stands at ornear the top of contributor lists fornumerous Alabama arts organizations.

For many years Moody was on theboard of overseers for the BostonSymphony Orchestra and was vice pres-ident of Janice Mayer and Associates, a

New York managementfirm that drives thecareers of opera singers.She has also been activeon the boards ofAlabama ShakespeareFestival, OperaBirmingham, BerkshireOpera, and was presi-dent of the TuscaloosaSymphony. Last year shewas named outstandingphilanthropist by theAlabama chapter of theAssociation ofFundraisingProfessionals.

PRECOCIOUS PIANIST Moody was 4 when she first sat

down at the piano, playing music she’dheard on the radio and reproducingmusic her older sister was playing.

“That didn’t make for good rela-tions, but she lost interest in it,” Moodyrecalls of her sibling.

She was 11 when her parents, on theadvice of area musicians, sent the bud-ding musician to renowned piano ped-agogue Roy McAllister at theUniversity of Alabama. Moody

THE JONNIE DEE RILEY LITTLE LIFETIME ACHIEVEMENT AWARD

Gloria Narramore MoodyMOODY HAS HEART FOR CITY, THE ARTS

by Michael Huebner

Gloria Moody, shown in her home in Redmont Park, is one of the state’s most respected artsphilanthropists.

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remained his student throughout hermusic training at UA.

“My parents were not musicians,and they didn’t know if I was gettingalong well,” says Moody. “But every-where I went I played the piano. Thehead of the music school heard meplay at Girl Scout camp. Playing pianobecame synonymous with my life.”

Moody continued to teach and per-form after she graduated from collegeand married into a prominentTuscaloosa family. Hugh Thomas,whose father, Frank, coached the UAfootball team to a 115-24-7 record andtwo national championships from1931 to 1946, was her husband for 12years. But tragedy struck in 1967.Thomas, a member of the Alabamalegislature, was killed at age 33 in atraffic accident on his way to a meetingof the House of Representatives.

“That was like the end of theworld,” she remembers. “Hugh and Ihad two children. My daughter was 8and my son was 5.”

STEINWAY, NOT BUICK

For the next two yearsshe immersed herself inmusic, for a time teachingin a private school. Thenshe met an old friend.

“I’d known FrankMoody my whole life,” shesays. “Frank was 18 yearsolder than I was and hehad four children. We gotmarried in 1969. It was just wonderfulto be a family again.”

One of Tuscaloosa’s most promi-nent businessmen, Frank Moody wasthe fourth-generation president of theFirst National Bank in Tuscaloosa.When Gloria graduated from highschool, her father approached Frank,then a loan officer, about financing agrand piano.

“Frank just shook his head and toldhim, ‘You can buy a new Buick for

that,”’ shesays. “Daddysaid, ‘I don’twant a newBuick. I wanta Steinway.”’GloriadescribesFrank as the“outside” per-son of thefamily duringtheir mar-riage.“He wasMister

Tuscaloosa,” she says. “He was chair-man of all kinds of things like the hos-pital board and the mental healthboard. I was never a club person; it wasalways music or home. He didn’t par-ticularly want me to have a career, butsaid he always felt guilty because hetook my first love—my love of musicand playing.”

Still, Gloria performed often andstudied piano in New York during the1980s, once accompanying flutistRansom Wilson in recital. The couplealso shared a love for travel, so after thechildren were grown, they bought ahouse in the historic town ofWashington, Conn. But with musicstill flowing in her veins, the shortdrive from Washington to Lenox,Mass., where the Boston Symphonyplayed each summer at theTanglewood Music Center, proved irre-sistible for Gloria. The couple bought asummer home in Lenox in 1989.

“Tanglewood changed my life,” shesaid. “That’s where I got to know YoYoMa, Gil Shaham and Itzhak Perlman. Iwould think, ‘Why can’t we have some-

Gloria Moody, and UA Celebrity Series artists Itzhak Perlman and YoYo Ma.

Gloria and Frank Moody at their home on Overlook Road, Tuscaloosa.

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thing like this in Tuscaloosa?’ I wantedto share this with people I love. That’swhen Frank started thinking about thefoundation.”

With his health failing, Frank wasdetermined to start a foundation andname it for his wife, whose career hebelieved he had curtailed. He and hisfamily had already funded much of theconstruction for Frank Moody MusicBuilding at UA.

“He wanted my whole name inthere, and he said it was because ofguilt,” she said. “Everything about himwas far-sighted. He knew he wouldn’tlive long, and he wanted me to havesomething to do for the rest of my life.”

FUNDING ALABAMAARTS

After Frank died in 1994, Gloriabegan funding arts in Alabama, com-missioning composers, sponsoringconcert series and serving on boards ofdirectors. The same year, she commis-sioned William Bolcom’s “Let EveningCome” for opera legend Tatiana

Troyanos, but the singer died beforethe premiere. The work was dedicatedto Troyanos and Frank Moody and firstperformed in Tuscaloosa by sopranoBenita Valente, violist Michael Tree(playing Troyanos’ part) and pianistCynthia Raim.

The foundation also funded theworld premiere of Gunther Schuller’soratorio, “The Black Warrior,” an ora-torio based on Martin Luther King, Jr.’sBirmingham letters.

Moody moved to Birmingham part-ly to help with the rebirth of theAlabama Symphony, whichreceives the biggest portion ofthe $300,000 given annually bythe foundation. During therecent interim period betweenexecutive directors, Moodyrolled up her sleeves and wentto work.

“I went to the officealmost every day,” she said.“We’d had several staffchanges, and I wanted to besure that the morale stayedhigh. And it did.”

When Paul Ferrone arrived to inter-view for ASO’s executive director, hewas impressed by Moody’s commit-ment to the orchestra.

“It was clear that she was incrediblypassionate about the ASO," Ferronesays. "You sensed this unconditionalcommitment, not only to the ASO butto music, and that rubs off on you.Every time she speaks, you find your-self leaning forward and paying atten-tion, because what she has to say, youneed to hear.”

ROOM FOR OPTIMISM Foundation recipients range from

large organizations such as the UA’sCelebrity Series, Alabama ShakespeareFestival, Opera Birmingham andAlabama Ballet to smaller endeavorslike Northport’s Dickens Downtownand Birmingham’s Summerfest.

Moody’s interest in young talentspawned her sponsorship of the AlysStephens Center’s Rising Stars Series,which showcases artists at the begin-ning of their careers.

Dr. Dennis Monk, Chair of the School of Music when the newmusic facility was built, with Gloria and Itzhak Perlman.

Gloria and long-time friend and colleagueAmanda Penick pose after duo-piano perfor-mance for UA Leadership Board.

Gloria Moody, pianist Garrick Ohlsson and for-mer UA president Andrew Sorensen.


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“I was brand new in the communitywhen I met Gloria,” says StephensCenter director Caron Thornton, whohopes to bring “From the Top” toBirmingham in the near future. “Whenshe moved to Birmingham, I invitedher to see the hall and asked her to beon the board. Shortly after, she wasfunding the Rising Star series. She’syour best friend, a fabulous sponsorand a wonderful human being.”

Moody is mostly upbeat about thesymphony and Birmingham arts ingeneral.

“It’s going to take a lot of closeobservation to figure out how to pro-ceed,” she says. “We could shoot our-selves in the foot in a million ways. I’vehad my fears about large businessesleaving, but I’m optimistic, particularlyin Birmingham.”

She will also take close looks at can-didates for ASO’s music director.

“It’s terribly exciting,” she says. “Thesearch committee will meet after eachand get to know them socially. It’ll begood for Alabama nationally when allthose conductors see what’s here.People are always shocked at the highquality of the orchestra. ■

Michael Huebner is a Fine Arts Writerand Classical Music Critic for

The Birmingham News. Copyright,Article by The Birmingham News,2005. Originally published May 25,2004. All rights reserved. Reprinted

with permission.

Gloria Narramore Moody early in her career.

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Fans of The Andy GriffithShow love and admireGeorge Lindsey for his

rib-tickling role as the beanie-capped Goober Pyle, adimwitted but goodheartedfilling-station attendant inmythical town of Mayberry,North Carolina. But by 1964,when he first earned the cov-eted role on television’s top-rated sitcom, Lindsey—win-ner of the Alabama StateCouncil on the Arts’ 2005Distinguished Artist Award—was already an experiencedactor on the stage and TV andmovie screens.

“I think I had to do all ofthat before I was ready to playGoober,” Lindsey maintains.“Without that experience, Idon’t think the role on The AndyGriffith Show ever would have hap-pened. I needed to do all of those otherthings—working on my range anddeveloping my voice—before I wasready to do that show.”

The Jasper native attended FlorenceState Teachers College (now theUniversity of North Alabama), gradu-ating in 1952. After finishing college,Lindsey taught for a brief time at HazelGreen High School before making the

daring and momentous decision topursue an acting career in New York—where he studied at the AmericanTheatre Wing and eventually per-formed on Broadway.

“That stage experience helped me somuch,” Lindsey recalled, “having toperform every night for a Broadwayaudience. You really had to be ready—and I was ready.”

Lindsey eventually moved toCalifornia and began working on net-

work television, playing a wide rangeof dramatic roles in episodes of TheRifleman, The Twilight Zone and AlfredHitchcock Presents. The Andy Griffithseries was already airing during thattime, with fellow Alabama native JimNabors playing the show’s first comicalgarage mechanic, Gomer Pyle.

“I was considered for the Gomerrole, and I thought at the time that Ishould have had the part because I hadmore experience,” Lindsey explained.“But they went with Jim, who turnedout to be marvelous. But at the time,that was quite a blow.”

Griffith and the show’s producerslater offered Lindsey the one-shot role

THE DISTINGUISHED ARTIST AWARD

George LindseyFrom Weekly Series to Lifetime Achievement

by Terry Pace

George Lindsey with Ethel Kennedy at an Alabama Special Olympicsfunction. Lindsey helped raise $1.7 million for Alabama SpecialOlympics.

George Lindsey receiving an honorary degree at UNA.

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of Dud Wash,the bumpkinboyfriend ofMayberrymountain girlCharleneDarling.

“Somethingin the sky justtold me to turnthat down,”Lindsey remem-bered. “I’m glad I did, because had Idone it, I would have been too identi-fied with that role to do anything elseon the show. They never would haveconsidered me for Goober.”

Before Lindsey officially joined TheAndy Griffith Show, the actor won adream dramatic role on a1964 episode of The AlfredHitchcock Hour, an expand-ed version of the suspensemaster’s long-running half-hour anthology series.Inspired by a grim, ghoulishhorror story by RayBradbury, “The Jar” was setin the Louisiana swampsand featured Lindsey in acomplex and challengingrole as a gentle backwoodssimpleton named Juke.

“That part had alreadybeen cast when I went in toread for it,” Lindsey noted.“I went in for the audition,and I had learned thatscript word for word. I puton a pair of overalls, and Ihadn’t shaved for three orfour days. I didn’t comb my

hair. I don’t know if what Idid was unique, but itworked for me.”

“The Jar” starred anotherAlabama-bred talent, PatButtram, in a rare andunforgettable dramatic role

as a simpleminded farmer who exactsgruesome vengeance on his unfaithfulwife. The supporting cast featured someof Hollywood’s most beloved and best-known character actors, including JamesBest, Collin Wilcox, Slim Pickens,William Marshall, Jane Darwell, JocelynBrando and Billy Barty. But in the end, itwas Lindsey who stole the show fromthe older pros with his heartbreakingmonologue about a haunting incidentfrom Juke’s past.

“I did that in one take—no close-ups, no nothing,” Lindsey rememberswith lingering pride. “When I gotthrough, everybody on the set was cry-ing. All of those actors on the set hadtons of experience.”

“Working on that show was likebeing at the Forum, Yankee Stadiumand the Rose Bowl all at the sametime—and I scored the winning touch-down.”A cast shot of The Andy Griffith Show.

George with Lulu Roman, Grandpa Jones, and Gunilla Hutton dur-ing a “Hee-Haw” stage show at Opryland during the 1990s.


Pat Buttram and George Lindsey doing voice work for the Walt DisneyCompany.

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The “Jar” television drama wasdirected by longtime Hitchcock col-laborator Norman Lloyd, best remem-bered for his sinister title role in thelegendary director’s 1942 thrillerSaboteur as well as his more recentperformance as Dr. Auschlander onthe long-running medical series St. Elsewhere.

“They say that 80 percent of direct-ing is casting,” Lloyd noted in a recentinterview. “In the case of directingGeorge Lindsey in ‘The Jar,’ it was 100percent. All I had to do was cast Georgein that role, roll the camera and let him

go. He did a beautiful job with it—absolutely magnificent.”

Soon after earning critical raves for“The Jar,” Lindsey finally joined theensemble cast of The Andy GriffithShow. In the show’s first few seasons,the character of Gomer had grown sopopular that the series’ producers

designed to launch aspinoff, Gomer Pyle,USMC. Nabors’ depar-ture left the door openfor Lindsey to join TheAndy Griffith Show cast asGomer’s equally unusualcousin, Goober.“Doing a regular role ona weekly series was a bigadjustment,”Lindsey confessed. “Forone thing, you had toadjust to Andy being incharge and doing exactlywhat he told you to do—and he was always 100percent right. Also, youbegin to look at the wayyou work differentlybecause you’re actingwith the same peopleover and over again.“For instance, I remem-The First George Lindsey Celebrity Golf Tournament held in Montgomery for the Alabama Special Olympics. Pictured left to right, Paul

“Bear” Bryant, Leroy Jordan, unidentified woman, George Lindsey and Earnest Borgnine.

Lindsey was the quarterback for the Florence StateTeachers College Lions football team. He often says

their main play was "Harlon, go long!" His team-mate and great friend Harlon Hill, of Killen, was theend who later became a record-setting player for theChicago Bears and for whom the NCAA Division II

most valuable player of the year award is named.


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ber doing a Disney picture with a greatgroup of actors, but after the moviewas over, I never saw any of themagain—ever,” Lindsey continued. “Butwhen you’re working with your fellowactors every day on a series, your workhas to maintain a certain integrity.”

After The Andy Griffith Show left theairwaves in 1968, Lindsey reprised hisGoober character for three seasons ona highly rated spinoff, Mayberry R.F.D.,then joined the cast of the syndicatedcountry-variety series Hee-Haw. Healso appeared in memorable roles onGunsmoke, Banacek and a popular1972 episode of M*A*S*H, television’stop-rated series at the time.

“I got the M*A*S*H role on a Fridaynight,” Lindsey remembered, “and I hadthat weekend to learn the lines beforewe started filming on Monday.”

Lindsey now lives in Nashville, buthe spends much of his time perform-ing his live comedy act all over thecountry. The popular actor and enter-tainer will perform during an AndyGriffith Show cast reunion at Oprylandthis summer, and he’s the proudfounder and host of the nationallyrenowned George Lindsey/Universityof North Alabama Film Festival at hiscollege alma mater in Florence.

“We’re unique for a regional filmfestival, because we’re based at a uni-versity—so our focus is on using thefestival as an educational tool,” Lindseyobserved. “The festival offers a chanceonce a year for students, aspiring artistsand independent filmmakers to cometogether, share and showcase theirwork and learn more about the art andcraft of filmmaking.”

In its eight-year history, the festival’sspecial guests have included Lindsey’slongtime friend, Oscar winner ErnestBorgnine, as well as Alabama-basedactor Lucas Black (Sling Blade),Alabama-born writer-director TomCherones (Seinfeld), music producerMike Curb and singer-comedian RayStevens. The George Lindsey Movieand Television Script Archive at UNA’sCollier Library includes one-of-a-kindpersonal working scripts donated byBorgnine, Black, “Jar” author Bradbury,

science-fiction legend Forrest J.Ackerman and other figures from theworld of arts and entertainment.

“When I was in school, there wasnothing at all available like this,”Lindsey noted. “If there had been, Imight have been a lot better preparedfor the professional work when I firstleft Alabama and went to New York.”

An inductee of the Alabama Stageand Screen Hall of Fame, Lindseyrecently signed to return for his sec-ond season as host of the popular


George Lindsey in an Alabama Special Olympics parade in Montgomery.

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Turner South series Liars & Legends.He’ll also play the role of a Southernpreacher in an upcoming independentfeature called When I Find the Ocean,co-starring Lee Majors, Bernie Casey,Alabama-born actor Richard Tysonand Robert Redford’s daughter, AmyRedford. The movie is being filmed inthe Florence/Shoals area by Alabama-based writer-director Tonya Holly,who has worked with Lindsey on hisfilm festival at their mutual almamater, UNA.

“I had written the role of thepreacher as very small—basically just a

brief appearance and a single line ofdialogue,” Holly explained.

“But after I talked to George andthought about putting him in the film,I realized how much he could do withthat particular part. So I went back andrewrote and expanded that scene justfor him. Now it’s one of my favoriteparts of the script.”

Lindsey’s return to feature filmmak-ing marks the fulfillment of a longtimedream for the veteran actor, whose big-screen credits over the years range fromlive-action roles in Ensign Pulver (1964)and Treasure of Matecumbe (1976) to

voiceover work on the Disney classicsThe Aristocats (1970), Robin Hood(1973) and The Rescuers (1977).

“I always thought I’d end up amovie character actor, like a latter-day Chill Wills or Slim Pickens,”Lindsey concluded. “I’d like to domore movies, and I know I’ve still gotit in me. I just have this feeling thatthere are young directors out therewho are going to say, ‘I’ll bet GeorgeLindsey could really play the heck outof this part.’ So I’m keeping myinstrument tuned.” n

Terry Pace is the entertainmenteditor of the TimesDaily, a New

York Times RegionalNewspaper in Florence,

Alabama. His is also an actor,director and producer who serveson the steering committee of the

George Lindsey/UNA FilmFestival 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.

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.

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Alabama has a growing,national reputation as aplace where a great diversity

of the arts is fostered. Many individu-als and institutions can claim respon-sibility for propelling this reputationforward. However, few people inAlabama have made contributions tothe arts with such statewide impact asMrs. Betty Grisham, a native ofAthens, Alabama. Mrs. Grisham is agenerous patron, advocate and volun-teer whose dedication has nurturedand benefited numerous arts organi-zations across Alabama during thepast fifty years.

Following her graduation with aBA degree from the University ofMontevallo in 1942, and a MA fromColumbia University Teachers Collegein 1945, Mrs. Grisham taught art atthe High Museum, the WestminsterSchool and the public school systemin Atlanta. She was an original mem-ber of the Board of Directors of theBirmingham Museum of Art and ini-tiated its art education program. Herefforts established a vital role for theMuseum and reinforced a growingtrend in Museum programs offered forcommunity enrichment. Following hermove to Huntsville in 1963, she spear-headed the establishment of theHuntsville Art League and supported

the Huntsville Museum of Art since itsfounding in 1970. She also served onthe Museum’s Foundation Board andin the Women’s Guild. She and herhusband Charles also provided fundsto name a major gallery in the newMuseum in 1998.

An accomplished artist inher own right, her creativejourney has had many inter-esting stages culminatingwith a presentation of a soloexhibition by the HuntsvilleMuseum of Art (HMA)which closed in early 2005.Betty Grisham’s personal artcombines traditional hand-work such as embroidery andfabric dying with modernistelements such as abstractionand the use of bold patterns.Her work evokes an earliertime when great value wasplaced upon objects that werehand made. An accomplishedpainter and printmaker, Mrs.Grisham has numerous exhi-bitions to her credit, includ-ing 14 successive solo showsin Georgia, Alabama,Mississippi and Texas.Fascinated with textiles sincechildhood, she developed thispassion into successful busi-

nesses in the 1970s and 80s that pro-duced original women’s apparel soldunder the label “B. Grisham” inAlabama, New York and elsewhere, aswell as exquisite hand printed silks foruse in interior design. Speaking of herinfluences and motivations Betty said,

THE GOVERNOR’S ARTS AWARD

Betty GrishamTeacher, Patron and Artist Extraordinaire

by Clayton Bass


Mrs. Grisham addressing visitors at the opening of The World of BettyGrisham.

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“Winter’s fiery sunsets, Isee and enjoy themeveryday. Then I dodrawings that becomeother works. Things thatare growing—nature, Icome back to it moreand more. Changes ofthe seasons and the sub-tlety of nature inspiremy work. I have studiedart history and see greatvalue in all periods.Georgia O’Keeffe was aninfluence. Inspirationcomes from manysources.”

Although “unique” is oftenoverused, when it comes toGrisham’s art works or dyedfabrics, the term trulyapplies, for each work is dis-tinctive, yet contains her dar-ing use of color, gesture anddesign. Her work is alive withher spirit, vitality and senseof humor.

Through her generoussupport to the University atMontevallo, the ArtDepartment was able toexpand its printmaking pro-gram to include large formatprints on silk fabric. Workscreated by students from thisprogram were donated to theHuntsville Museum of Artand are on display in itsGreat Hall and conferencefacilities.

During the past twodecades Mrs. Grisham devel-

oped a strong interest inthe exquisite jewelry andsilver creations ofBuccellati in Milan, Italy.Although she beganpurchasing pieces for herown enjoyment, in recentyears, Mrs. Grisham hasgiven the HuntsvilleMuseum of Artnumerous silverBuccellati animals. Thisgroup of works is nowthe largest collection of itstype in the world. In arecent interview Mrs.Grisham explained herinitial attraction to thework.“Having designedand made jewelry myself,I saw a great sensitivity inBuccellati’s craftsmanshipand designs. His silveranimals can inspire chil-dren because they canrelate to them. Childrencan even make their ownanimals out of paperinspired by the silverones. It’s the art teacher inme that wants to helpchildren connect to theircreativity.”

Mario Buccellati, whofounded the House ofBuccellati in 1919, origi-nated the “Buccellatistyle” which is comprisedof techniques from theRenaissance period, acombination of luxurymaterials, plus an exten-

Betty Grisham, (b. 1921, Birmingham, AL) Converging Patterns, 1975 silk gros point, 19 x17 inches. Collection of the Huntsville Museum of Art, gift of the artist.

This exquisite lion is one of 13 Buccellati animal sculptures donated to the Huntsville Museum ofArt by Betty Grisham. As a result of Mrs. Grisham’s donation, the Museum has the world’s largestcollection of Buccellati Animals.


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sive use of texture engraving to createobjects of extraordinary beauty.Buccellati’s unique style is favored bydiscriminating clientele that include theVatican and the Royal Houses of Italy,Spain, Belgium, England and Egypt.The Buccellati tradition is carried ontoday by Mario’s son Gianmaria, whoserves as the primary designer. Aninternationally renowned silversmith,he has dedicated his life to the creationof extraordinary objects that keep the

tradition of Italian craftsmanship alive.Buccellati silver animals replicate crea-tures from earth, sea and sky in a highlyrealistic manner that captures detailslike feathers, hair, or different types ofskin. The Huntsville Museum of Artwill begin a major national travelingexhibition of its Buccellati collectionbeginning in 2007.

In recent years Mrs. Grisham andher late husband Charles supported theestablishment of the new Jule Collins

Smith Museum of Art at AuburnUniversity, adding yet another jewel inthe State’s crown of arts organizations.When asked to reflect on her contribu-tions to the arts in Alabama she said,“Now we have art museums in manycities across the state. When I startedout there were none. It is thrilling to seehow much things have changed. Artmuseums are here to benefit everyone.You don’t have to be rich to walk in thedoor. My involvement in helping to

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 herbeloved cat.

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bring several art museums intoexistence in Alabama has beenvery satisfying. Now we havemany great museums for peopleto enjoy.”

Truly Betty Grisham’s com-mitment to the arts and culturein Alabama continues to redefineand enhance the arts forAlabama’s citizens, visitors andfor generations to come. Hergenerosity and creativity touchthousands of people everyday—many who know her and manythat never will. She is truly one ofa kind. ■

Clayton Bass is President and CEO of the Huntsville

Museum of Art.

In October 2004, the Huntsville Museum of Art presented The World of Betty Grisham. This exhibition presented aselection of fabrics, paintings, works on paper, needlework, and wearable art created over the artist’s remarkable 50-yearcareer.

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Ensley was a vibrating, magicalplace for a young boy, saddled tohis bicycle, to grow up in the

1950s. Bobby Horton lived “a milefrom everything.” In a young child’skingdom, he was rich. He was nearsuch attractions as the BirminghamInternational Raceway (or BIR, as thelocals called it), the state fairgroundsand Rickwood Field where the Baronsand the Black Barons played. FivePoints West was about a half mile away.What more could a lad want when heand his pals could listen to the vroomof the stock car engines revved byfuture NASCAR greats, eat cottoncandy and ride the Ferris wheel orcatch a Southern League baseball gamewith future major league stars likeJimmy Piersall.

And when he closed out the day atthe Horton home in Belview Heights,he would be influenced by the mourn-ful country tunes of the late HankWilliams, favored by his father, and the’30s and ’40s jazz played by America’sbig bands, many peopled by musiciansschooled by John “Fess” Whatley atnearby Industrial High School (nowParker). Within a baseball’s throw ofhis neighborhood was the famedTuxedo Junction which Ensley nativeErskine Hawkins and formerMontgomery-based Army Air Corps

lieutenant Glenn Miller had madefamous. Horton’s mother would alsohave classical music playing.

He knew his father had been atrumpet player, but he had never heard

him play. The loss of the seniorHorton’s bottom front teeth duringWorld War II had stolen hisembouchure. Young Bobby wanted toemulate his dad; he wanted to play the


Bobby HortonUnderstanding the Soul of American Music

by William M. Jarnigan

Bobby Horton and his music has been featured in numerous magazine and newspaper articles.

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horn after finding it tucked away, like adream of yesterday.

During his early summers, he expe-rienced another musical influence. Hismaternal grandfather “Pop” Camp wasan old time picker, who played what hecalled double knocking banjo, referredto today as drop thumb flailing or clawhammer style. Often when Campwould be sitting on the front porch ofhis Clay County home, dropping histhumb, neighbor Howard Hamilwould pull up in his pickup, deposithis hat on the dashboard, yank a fiddlefrom the back of the vehicle, set a spitcan on a paper sack and join the pick-ing, kicking off with “Leather Britches.”

Young Horton was also blessed withanother of his grandfather’s musicalinterests. In that Lineville country

house, the old man would ritualisticallyrise every Sunday morning at 5:30 andwake up the whole house to thegospelizing of the Chuck Wagon Gangon a radio, played very loud to com-pensate for his fading hearing. Thenthey would watch the Wally Fowlershow on TV. Another feature was theFlorida Boys who would host severalsouthern gospel greats on The GospelJubilee syndicated show.

On his father’s side of the family,Horton’s great-great aunt Mary wasmarried to Paine Denson, one of thefamed Sacred Harp songwriters andsingers from Winston County.

When he was eight, during the cen-tennial of the Civil War, the sixth gen-eration Alabamian learned that hisancestors had fought on the side of the

Confederates. A mushrooming interestin the history of that conflict beganconsuming him.

All the cultural and musical influ-ences that immersed him were just apart of life for a Southern lad.

Then in the seventh grade, the for-mal music training started with banddirector Joel B. Harrison, who, Hortontoday says, was “wonderful,” especiallyby how he inspired the students to playwell. Harrison formed a Dixielandband, with Horton as a member, andtook them to Jackson, Mississippi toperform for the first time. The “perfor-mance bug” had bitten the youngster.

In the socially and politically turbu-lent Sixties, Horton played in rock androll bands around Birmingham. Whilein school in Ensley, he first met JerryRyan, who was in his initial year thereas a basketball coach. Ryan would sit inoccasionally with Horton’s band. Afterhigh school, Horton enrolled acrosstown at Samford University to studyaccounting and economics. Ryan got ajob there as the freshman basketballcoach. When Samford public relationsguy Warren Musgrove asked Ryan if heknew someone who could play banjo,the latter replied to the affirmative andgot Horton, then a junior, to accompa-ny him to play at Musgrove’s buddingHorse Pens 40 folk music festival. Theymade $10 for twice playing a seven-song set. As a result, the duo began get-ting gigs to play bluegrass music. Afteradding an upright bass player, theytook the name Three On a Stringaround 1971, and began developing astage act that was musically based, butaccented with comedy. Meanwhile,

An assortment of Bobby’s many musical instruments.

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Horton graduated and began program-ming mainframe computers forLiberty National insurance company, aday gig he held for seven years. Ryanhad become a high school principal.

As the demand grew for their play-ing, Horton says they “stumbled andbumbled” their way in a full-timecareer as musicians.

With Ryan’s close ties withMusgrove, they were able to build a fanbase at Horse Pens 40 in BlountCounty and at the Lowenbrau Housein Birmingham. Through those gigs,they became friends with such genregreats as self-proclaimed father of blue-grass Bill Monroe, his popular disciplesFlatt & Scruggs, the prominent RalphStanley, Grand Ole Opry stalwarts Samand Kirk McGee, Doc Watson and theyoung upstarts, Ricky Skaggs and MarkO’Connor.

Three On a String allowed Hortonto begin spreading his wings. He addedtrumpet to his repertoire. They wereplaying bluegrass, big band, swing,classical, Irish, folk and old-timeymusic, without limiting the style andinstead, concentrating on the tune. Asthe unique three-part harmony ofThree On a String became more andmore popular, they even performedwith the Alabama Symphony.Meanwhile, Horton began doing sideprojects with a little four-track recorderhe had bought and set up in a sparebedroom.

1984 was his watershed year. MiltBagby hired him to compose thesoundtrack for Shadow Waltz, a featurefilm about a War Between the State’slove story set in southern Indiana in

1863. Horton laiddown the founda-tion for the scorewith a finger-picking guitarpart before goinginto a studio toadd strings andwoodwinds. Thatsession convincedhim he could domore of this.While researchingfor period musicto use in the film,Horton discov-ered thousands ofsongs dealingwith the travailsof the war. Hewas also collectingan assortment ofperiod musicalinstruments,including brassand percussionpieces, strings of all kinds and whistles.

At the behest of friends in the Sonsof the Confederacy, he recorded someof the tunes and began selling cassettes.A passion became an obsession to meetthe demand. Dressed in period cos-tume and playing instruments of theperiod, Horton began performing aone-man concert/lecture series, “Songsand Stories from the Civil War,” coastto coast, from the Vermont State Houseto Baruch College in New York andSan Diego State University inCalifornia. The Delta Queen andMississippi Queen steamboats had himon their inland river cruises. By the

time he produced half a dozen volumesof the music, he attracted the attentionof American Heritage editor RichardShow, who was serving as an advisor ofKen Burns’s Civil War documentaryproject. Show suggested Burns contactHorton. As a result, he was able to get aversion of “Dixie” on the soundtrack.That and his other Civil War musicprojects led Blue and Gray Magazine toterm Horton “the premier artist ofCivil War music.”

Horton was captivated by the rich-ness of the Civil War music. The song-writers “wrote about every aspect oflife.” The songs were sung by the people

Bobby Horton in period costume.

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while one of the most “horrendoustimes to be an American” was occur-ring. Afterwards, they wrote more tunesabout what they had experienced. Thestory song tradition is one that hasbeen the language of time, tying togeth-er generations and cultures.

Now Horton has recorded 14 vol-umes of the Civil War period music,with six being of Confederate songs.

Burns was impressed enough withHorton’s Civil War contribution toquery him about providing a renditionof “Take Me Out To The Ballgame” foran upcoming documentary on base-ball. And he did, to excess. He providedthe filmmaker numerous versions ofthe song in a variety of styles—classicalguitar, a “Mozarty sort of thing,”Southern rock, big band, etc.

More Burns projects followed forHorton—Thomas Jefferson, Lewis &Clark, Frank Lloyd Wright, Not forOurselves Alone: The Story of ElizabethCady Stanton and Susan B. Anthonyand Horatio’s Drive. A chance perfor-mance with a Samford opera singerprovided Horton with “Beech Spring,”a 1759 hymn that he shaped for theopening of the Lewis & Clark film, ofwhich he also composed “Clark’sTheme” and the conflict theme.

Burns has said, “I don’t believe I’vemet anyone quite like Bobby in theability to understand the soul ofAmerican music.”

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 understandJohnny Reb and Billy Yank, you can

read a dozen books, or spend an hourlistening to Bobby Horton.”

Horton has scored two A&E pro-jects and 10 National Park Servicevideos. Calling on his past career, heworked on two computer games ofCivil War battles.

American to the core, Hortonscored the music for the James EarlJones-narrated The Voice of GladdenedHearts, the story of the 1896 rescue ofthe E.S. Newman of the coast of NorthCarolina by the only all-black U.S.Coast Guard lifesaving crew inAmerican history. The film premieredin February 2005.

As this fun-loving, Renaissanceman, brings his diverse talents to theserecording projects, Horton is also pre-serving a part of American musicalhistory that might otherwise be lostforever, because sheet music, the onlyrecording of the works at the time,deteriorates or is discarded. TheAlabama Music Hall of Fame has pre-viously recognized his and Three On aString’s contributions to music with aGovernor’s Achievement Award. Nowthe Alabama State Council on the Artsis presenting him a Governor’s ArtAward for his undying contributions.

To paraphrase the last couplet of“Stonewall’s Requiem,” one wouldhope that Bobby Horton’s “musicshall live forever link’d with reverenceand love.” ■

William M. Jarnigan is the Universityof North Alabama Director of

University Relations, is a former executive director of the Muscle ShoalsMusic Association and a former board

member of the Alabama FilmCommission and the Alabama State


Bobby Horton on acoustic bass.

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Jimmy Lee Sudduth, a native ofFayette, is a well-known figure inAlabama art circles and has been

for many years. Anyone who has visitedthe annual Kentuck Festival of the Artsin Northport will remember him—he’sthe one surrounded by dozens of anx-ious admirers lined up hoping to buy apainting. However at ninety-five yearsof age Jimmy Lee is not just wellknown in his home state—rather he isone of the “elder statesmen” of blackfolk art in America. His paintings aredistinctive, created primarily from vari-ous colors of clay that he dug from the

earth and refined, mixing them withsugary liquids to solidify them andbind them to the support. Over timehe came to utilize various types ofpaint and other natural materials andprocesses, and in studying his worktoday we discover a compendium ofstyles and techniques to rival the mostadventurous of schooled artists. Inaddition to his technical experimenta-tion, Jimmy Lee’s work is characterizedby the most ineffable of elements—asense of joy in living. His works arehonest, powerful expressions of appre-ciation for his environment and his fel-

low man that force the viewer to stop,consider, and appreciate the simplebeauty of the world we all share.

Jimmy Lee was born March 10,1910, at Caines Ridge, a small commu-nity in west Alabama near Fayette. Hismother, Balzola, was a medicinewoman of Native American descentwho used wild plants in her medicinalpreparations. While accompanying hismother in the woods one day, theyoung boy created his first painting inmud on a tree stump. This paintingsurvived until their next visit and hismother believed that this was a sign heshould continue to paint.

He did so, but his art remained anavocation for many years until hewas afforded more time to pursue itlater in life.

The history of Jimmy Lee’s art mak-ing career is integrally connected to theexperiences of a long and productiveexistence. It is clear that his art wasinspired by his own interests, and notby the marketplace. In 1963, RobertMartin, a young reporter for theFlorence Times Tri-City Daily newspa-per (July 14, 1963), interviewed theartist, who recalled his artistic begin-nings. “I started when I was eight, justdrawing on the ground,” he said. “Lateron though, I began to draw on paper.”He told the reporter he had never had


Jimmy Lee SudduthHis Work is REALLY Down to Earth

by Margaret Lynne Ausfeld

Samples of Sudduth’s work are displayed around a tree at the Kentuck Festival of the Arts, Tuscaloosa. Jimmy LeeSudduth was a major draw for the festival with collectors traveling great distances to purchase his paintings.

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any training in art, “except what I’velearned myself in the experience.” Atthe time of the interview, he wasemployed as a gardener, after havingworked many years as a farm laborer,and then in a local gristmill and, stilllater, a lumber mill. Typically, thereporter left his interview with a paint-ing by Jimmy Lee in his car, the artist’sgift to a young admirer. Jimmy Lee rev-eled in the happiness his paintingsbrought and he gave them away freelyto those who asked for them.

Perhaps the most important influ-ence on his evolving career as a rec-

ognized artist was Jack Black,who was a neighbor and thepublisher of the local newspa-per. It was Mr. Black, who wasalso the founder of the FayetteArt Museum, who encouragedhis friend to continue to paintand sought out recognition forhis work. He helped to arrangeJimmy Lee’s first exhibition atthe Stillman College art depart-ment in 1969. He was featured atthe Smithsonian Institution’sBicentennial Festival of AmericanFolklife in 1976. This was fol-lowed by a one-person exhibitionat the Birmingham Museum ofArt in 1978, and by an appear-ance on NBC’s Today show in1980. Thereafter his workreceived increasing exposure andthe market was established. Overthe years he has been included inalmost fifty exhibitions in theUnited States and Europe.

Although painting usingnatural clays was his primary

means of self-expression it was by nomeans the only one. In previous yearshe created porch decorations,Christmas displays, and painted thewalls of his house with decorativepatterns. He has musical talents aswell—he’s been known to entertain hisvisitors by singing and playing the blueson his mouth harp (harmonica).Appreciation for Jimmy Lee’s workobviously spread beyond west Alabamamany years ago, but the local commu-nity embraced the artist and hiscreativity. Thanks to the KentuckFestival and the Fayette Arts Festival,his works have found homes very closeto his own home.“You drive aroundtown, you’ll see my work all over theplace. I can hardly believe it myself,” heonce said.

To make paintings Jimmy Lee tradi-tionally used a combination of clays hedug from the surrounding area mixedwith a sugary substance as a binder(and sometimes incorporating com-mercial paint) as a medium. His ownterm for this distinctive blend is “sweet

Jack Black, his wife Margaret and daughter Clair help JimmyLee Sudduth celebrate his 94th birthday at the Jimmy LeeSudduth Gallery, Fayette Art Museum.

Georgine Clarke, Visual Arts Program Manager, Alabama State Council on the Arts, visits with Jimmy LeeSudduth, a regular exhibiter at the Kentuck Festival of the Arts, 1996, Tuscaloosa.


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mud.” Over the years he has practiced avariety of means in using these simplematerials. He applied them with hisfingers, sticks, brushes and otherimplements. He used soft clay rocks todraw his designs and provide a soft,pastel-like finish to works that contraststrongly with those created from heavi-ly applied coatings of mud. He’semployed plant materials as stains andeven charred the surfaces of boards tomake a rich, silky, deep black finish.Seemingly his ingenuity is endless—when he was dissatisfied with shades ofblack achieved by other methods, hereportedly used lawnmower exhaust tosmoke a passage to the desired color.

Some of the earliest known worksfrom the 1960s suggest his fascinationwith architecture and with architec-tural forms. He made pencil drawingson the back of the plywood boards heused as supports, reproducing theplanes of houses in perspective tosuggest depth in space. On the reverseof these boards he created carefullycrafted depictions of the structuresusing clay, paint, organic materials,and sometimes affixing actual stonesto the surface. Some of his most dis-tinctive and powerful works arebuildings familiar from his local envi-ronment—everything from the mod-est vernacular log houses that wereonce common in west Alabama, tothe majestic Fayette County CourtHouse, with its classically-inspiredcolonnade and dome.

Jimmy Lee’s choice of subjectsbeyond architecture remains complexand wide-ranging: from people, ani-mals and situations familiar to resi-

dents of west Alabama, to the largerworld he knows mostly from popularmedia. He also created images thatconvey his very different urban experi-ences, especially his visit to theAmerican Folk Life Festival inWashington, D. C., in 1976. His mem-ories of that trip and Washington’smultistory urban buildings are evidentin many of his compositions after thattrip. Throughout his career, wildlifesuch as squirrels, turtles and snakes areportrayed, along with many images of

a series of dogs he has owned as pets,collectively known as “Toto.” He hasalso made many portraits of people,obviously reveling in the diversity oftheir presentation and dress. Anenthusiastic man of positive outlook,he conveys his fascination with thepeople he portrays by spontaneous,gestural depictions of their features,hair and clothing. In recent years theartist has been less able to do the hardwork of digging and preparing clay,and thus has turned to painting his

Playing the blues on his harmonica is a favorite pastime for Sudduth.

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favorite subjects with acrylic paints onplywood boards.

Jimmy Lee Sudduth is one of agroup of artists whose creativity hasexpanded the boundaries of what wasonce considered mainstream art in thetwentieth century. These artists, nowusually categorized as self-taught, havean enthusiastic audience of collectorsand admirers who appreciate thestrength and heart-felt sincerity oftheir productions. Both the artists andcollectors are passionate advocates ofbasic human values and emotions,expressed in an astounding array ofmedia and subject matter. Work likethat by Jimmy Lee was once consideredmerely odd or eccentric—now it ischerished for its originality, its sense ofjoyous spirit, and its evocation of theways of life in the rural South. ■

Margaret LynneAusfeld is Curator of

Paintings andSculpture at the

Montgomery Museumof Fine Arts.

Relaxing in his studio, and sharing a story or two, Jimmy Lee is always happyto stop for a visit.

Jimmy Lee Sudduth completing a piece of workwith his unique signature and a paint pen.

Samples of Sudduth’s paintings.

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Every two years the AlabamaState Council on the Arts pre-sents the Alabama Folk

Heritage award, its highest honor forthe folk and traditional arts. The 2005recipients are Margie and EnochSullivan, of the legendary SullivanFamily band from St. Stephens,Alabama.

The Sullivans, pioneers ofBluegrass Gospel music, have per-formed together for more than fiftyyears. Enoch attributes their long andsuccessful career to “good friends, andthe good Lord, and hard work.”Through the years, the SullivanFamily band has played for congrega-tions in small country churches andentertained audiences at major festi-vals across the U.S. and Europe. Theyhave appeared on the Grand OleOpry and were inducted into BillMonroe’s Bluegrass Hall of Fame inBean Blossom, Indiana and the OldTime Country Music Hall of Fame inAnita, Iowa. They continue to keepup a busy touring schedule, and are onthe road nearly 300 days per year.

When they are not touring, theSullivans live on the old home placein St. Stephens where they raised theirfive children. The property includes a69-acre bluegrass park, complete withcamping facilities. There they host

two festivals a year: the DixieBluegrass Gospel Fest in May onMothers’ Day weekend and theSullivan Family Homecoming on thethird weekend in October.

Margie Sullivan was born MargieBrewster in Winnsboro, Louisiana. Shefirst learned music within her family.

“My Daddy played guitarand we would gatheraround in the livingroom by the old fireplaceand he would take theguitar and we’d all singtogether,” she said. “Andwhen I showed an inter-est in learning, at aboutthe age of 8 or 9, he start-ed showing me thechords and the timing.”Margie’s first talent wassinging. “I wanted toaccompany myself, notnecessarily become amaster musician,” shesaid. Her soulful alto cre-ates a depth of feeling inher songs. She was influ-enced by country musi-cians she heard on radioKWKH - Shreveport,such as Mac Wiseman,Johnny Wright, KittyWells, Jack Anglin and

the Bailes Brothers. “They were a greatinfluence on me because they sang alot of gospel music,” she explained.

Margie and her father sang togetherin church. When she was 13, her fatherdied, and she left home to travel withevangelist Hazel Chain, who needed asinger and musician. “My mother

THE ALABAMA FOLK HERITAGE AWARD

Margie and Enoch SullivanPioneers of Bluegrass Gospel Music

by Anne Kimzey

Margie and Enoch Sullivan at a festival in Gadsden.

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thought it would be a good thing forme to do, which it proved to be,”Margie said. She and Sister Chain trav-eled to revivals and camp meetingsthroughout Louisiana, east Texas,Mississippi and Alabama.

Enoch Sullivan began playing musicat a young age also, first learning theguitar, then mandolin, then fiddle. Hewas eight years old when he began“church work.” He also came from amusical family. His father, the ReverendArthur Sullivan, played mandolin, fid-dle and guitar. His grandfather playedbanjo in the old dropped-thumb, orclawhammer, style. His grandfatherand cousins used to play “what we

called ‘frolics’then. Youknow, regu-lar, old-fash-ioned dancesin neighbors’homes on theweekends,” hesaid. “Butwhen myDad converted, he was really a funda-mentalist. Pentecostal Holiness peopledidn’t believe in playing worldly music.We completely stopped playing any-thing but religious music or gospelmusic, sacred music.”

Margie and Enoch met at a revivalservice inSunflower,Alabama in1946. Shewas 13 andhe was 15.Three yearslater the twomarried. Verysoon after,they beganperformingwith ArthurSullivan for alive radioprogram onWRJW inPicayune,Mississippi.Later theyperformedevery Sundayfor sevenyears onWPBB in

Jackson, Alabama and five mornings aweek in Thomasville. They workedwith Enoch’s father, Arthur, who con-tinued to play music and preach thegospel until he died, suddenly, in 1957.The group wondered if they couldcontinue, but “the people insisted wekeep going, keep playing,” said Enoch.The Sullivan Family band also includ-ed Enoch’s brother Emmett whoplayed banjo with the group until hisdeath in 1993.

Many of the songs the Sullivans per-form today are the time-honored,gospel standards they have been play-ing since their early days, such as “ThisWorld is Not My Home,”“Just Over inGlory Land,” and “Where the SoulNever Dies.” One song that brings backmemories for Margie is “Brush Arbor.”“I learned that from George Jones,” shesaid. “I related to that because, in myearly life, I went to the brush arbors,”which she described as “a makeshiftplace to have church.” She said, “I thinkbrush arbors were put up as communi-ty places where everybody could comeregardless of what your faith was, andenjoy good gospel singing and goodpreaching.” These arbors were con-structed with poles and rafters, “andthen they put brush over the top,

The Sullivan Family often performed at churches throughout the Southeast.

Dressed and ready to perform in an earlier photograph.


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which helped with the sun. It didn’t domuch for the rain.” At night they werelit with kerosene lamps, she said. Shelikens these outside meeting places tothe outdoor festivals where they per-form now.

Over the years, the Sullivan Familyhas nurtured a number of youngermusicians in the blue-grass gospel tradition,including countrymusic star Marty Stuart,who got his start withthe Sullivan Familywhen he was 12 yearsold. Would-be appren-tices audition for thevaluable opportunity togo with the band on theroad. “They have tohave a natural talent.No matter how muchthey’ve learned by thebook, unless they have anatural talent and feel-ing for the music, it’shard for them to playthis kind of music,” saidMargie. She creditsEnoch with a sense forpicking out studentswho will learn and stickwith it. He can tell if young musicianshave “the heart and soul for it.” He hasa gift for working with people, shesaid. “But more important, he had theknowledge that unless younger peoplewere taught and learned the feel of themusic and how to do it, that would besomething that would be lost in theshuffle. And he felt like it was reallyimportant for our people always to

have this kind of music.” This desire topass the tradition on to the next gener-ation has coincided with the goals ofthe Alabama State Council on the Arts’Folk Arts Apprenticeship Program,which has provided past recognitionand support for Enoch Sullivan’s workwith apprentices.

In addition to the Folk ArtsApprenticeship Program, the State ArtsCouncil has had a long associationwith the Sullivan Family, presenting thegroup at state folklife festivals and tra-ditional music concerts and promotingthem through the statewide ArtsTouring roster.

The Sullivan Family has madenumerous recordings, many of which

are available for purchase through theirwebsite at www.thesullivanfly.com .One of their recordings, The SullivanFamily Remembers the Louvin Brotherspays tribute to fellow AlabamiansCharlie and Ira Louvin. The Sullivansfirst met the famous brother duo whileperforming on a Grand Ole Opry

Show in Mobile. “They sang with somuch feeling and Ira wrote so manygood gospel songs,” said Margie. “Theywere of the people. They sang aboutregular people like you and me.” AfterIra Louvin’s death, the Sullivans helpedCharlie with his festival near Ider,Alabama.

The Sullivan Family had the oppor-tunity to play with many notable fig-

The Sullivan Family during a touring and performance break.

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ures in country and bluegrass, includ-ing “the Father of Bluegrass Music,” BillMonroe. It is said that Bill Monroe wasthe first to describe the Sullivan’s musicas “bluegrass gospel.”

“We had a lot of good years. Andsometimes back in the early years, itwas lean times,” said Enoch. “But therewas one thing we always had going forus. We didn’t mind working. We lovedthe work, and we enjoyed meetingpeople and being on the road.” Margieagreed, and added, “What we hadgoing for us too, was a lot of peoplethat really loved us and supported us.And most of all we had the blessingsof the good Lord on what we did. AndI credit that being the reason for thesuccess we’ve had.” ■

Anne Kimzey is a Folklife Specialist for the Alabama State


An early photograph of the band. Enoch’s father, the Reverend Arthur Sullivan is standing on the right, holdingthe mandolin.

A recent photo of Margie and Enoch still enjoyingperforming for audiences.

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Sources for this article:

Radio interview of Margie and Enoch Sullivan by Steve Grauberger, which aired August 19, 2003 on WTSU,Montgomery.

Essay by Erin Kellen, “Margie Sullivan: Mother of Bluegrass Gospel,” from In the Spirit: Alabama’s Sacred MusicTraditions, 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. Editedby Patricia Martinez. Sweet Dreams Publishing, Many, Louisiana, 1999.


Multiple Grammy and Doveaward-winning artist, andrenowned member of the

Gospel Music Hall of Fame, VestalGoodman is a legend in the field ofgospel music.

Internationally known as “TheQueen of Gospel Music,” and one ofthe founding members of the HappyGoodman Family, along with herhusband Howard and brothers-in-law Rusty and Sam, Vestal helpedpioneer gospel music as we knowand love it today.

Born the daughter of Gordie andMae Freeman, Vestal grew up inAlabama high atop Sand Mountain.She lived and worked on the familyfarm with her four sisters: Jonnie,Mildred Mary, Faye and Bobbie. Shehad one brother, Claris “Cat”Freeman, a renowned tenor in thefield of gospel music.

Like many great singers, VestalGoodman began her musical career inthe church—the Highway Church ofGod in rural, tiny Fyffe, Alabama. Itwas there that she sang her first solo atage three, and the rest is history.

As a young girl, Vestal aspired tosing at the Metropolitan Opera, but itbecame apparent early on that she was“called” and destined to sing Gospel

Music. Vestal put her heart and soulinto her music. She had the innate abil-ity to paint a picture with the lyrics of asong like only a handful of recordingartists can. She truly felt what she sang,and it was obvious.

“God Walks the Dark Hills,”“Whata Lovely Name,” and “This is WhatHeaven Means to Me,” are a few of hertrademark songs.

Vestal and The Happy Goodmansrecorded their first album with WORD

Records in the sixties and they quicklybecame the flagship artist of that pres-tigious recording company.

Memories of waking up on Sundaymornings to the popular televisionshow Gospel Jubilee and The HappyGoodmans singing; “I Wouldn’t TakeNothin’ for My Journey Now,” are stillfresh in the minds of manyAlabamians today. The music of Vestaland the Happy Goodmans was asmuch a part of life back then as were

THE ALABAMA HALL OF HONOR SPECIAL AWARD

Vestal Goodman“The Queen of Gospel Music”

by Beth Chapman

Vestal and Howard Goodman and the Happy Goodman Family entertained audiences for decades.

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all day singings, dinner on the groundand ice cream socials. It was a south-ern tradition and The HappyGoodmans, especially Vestal, wouldbecome a southern legend.

Vestal recorded her first solo albumon WORD Records in 1975 and to datemillions of records including 15 num-ber one hits have echoed throughoutthousands of concert halls, churchesand homes across the globe.

During her five decade career,Vestal recorded songs with leadingmusical artists such as Vince Gill,Dolly Parton, George Jones, WynonaJudd, Lee Greenwood and Sandi Patty.In addition, she sang with virtuallyevery gospel music recording artistever to perform.

Over a decade ago renownedChristian song writers and recordingartists, Bill and Gloria Gaither gave

birth to a seriesof televisionand video spe-cials entitled theGaitherHomecomingSeries. Vestaland HowardGoodman werea major part ofthe revival ofgospel musicthat occurredvia the series.The seriestopped thecharts of theworldwidemusic industry.At one point,BillboardMagazineranked themnumber one inall genres ofmusic. Thanksto the contribu-tions and popu-larity of gospelmusic artistssuch as Vestal

Goodman, each video project achievedgold and platinum sales status.

Bill Gaither referred to Vestal as a“national treasure” and said when youheard Vestal you were hearing “themost dynamic and greatest voice thathas ever been heard in Gospel Music!”

After five decades of concerts, tele-vision appearances, and speakingengagements around the world(including a diverse range of perfor-mances ranging from the KennedyCenter for the Performing Arts to theGrand Ole Opry and everything inbetween), Vestal gained unequalednational recognition. With all of heraccolades, fame and fortune, she wasalways proud to call Alabama herhome, though many in other statesshe once lived tried to claim her fortheir own.

While Vestal Goodman is one ofAlabama’s most award-winning daugh-ters, she never reached the level ofprominence or recognition that manyof Alabama’s successful sons anddaughters have, simply due to her cho-sen career path. But if years of dedicat-ed service and devotion to God haveanything to do with success, she could

Vestal Goodman and Dolly Parton sharing amoment of laughter and fun.

George Jones and Vestal Goodman performing together.


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easily be the most accomplishedAlabama native in history.

While there are many accom-plished and famous athletes,artists, actors, writers and musi-cians who have hailed from thisgreat state, very few, if any, havehad such an obvious and pro-found impact of the salvation andspiritual well being of so manypeople. Vestal Goodman and herfamily were never about winninghundreds of awards or selling mil-lions of records, though they didboth. She and her family wereabout winning hearts and soulsfor God, and millions of thosethey won as well.

Vestal Goodman was a Godly,multi-talented, successful womanwho considered it among her

greatest honors to put SandMountain and Fyffe, Alabamaon the map.Vestal Goodman died and went“home” to be with the Lord onDecember 27, 2004, leavingbehind wonderful memoriesand a phenomenal musicalcareer that started on a ruralfarm in Alabama seventy-fouryears ago and continues totouch thousands of livesaround the world today.Vestal Goodman will not onlybe remembered by the nationas “The Queen of GospelMusic,” but by Alabama as oneof our most accomplishednatives and greatest contribu-tions to the world.

Vestal Goodman and Brad Paisley performing together.

Little Jimmy Dickens and Vestal Goodman backstage at the Grand Ole Opry.

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Mrs. Goodman is survived by herand Howard’s daughter, VickieMeadows and their son, Rick, whocontinues Goodman ministries—thelegacy his parents started more thanfifty years ago.

It is in her loving memory and welldeserved honor that the AlabamaSenate and Governor Bob Riley at therequest of State Auditor BethChapman and with the sponsorship ofSenator Lowell Barron dedicated a por-tion of Highway 75 between Fyffe andGeraldine, Alabama as The VestalGoodman Highway. n

Beth Chapman was elected StateAuditor for Alabama in 2002 and is

a published author of two books, oneabout Mrs. Goodman.

Howard and Vestal Goodman of The Happy Goodman Family visiting with formerAlabama Governor, George Wallace.Ph

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CONCERTMASTERDANIEL SZASZ

Violin

Violinist and Alabama Symphony OrchestraConcertmaster Daniel Szasz was born in Romania, in theTransylvanian city of Sibiu. He began playing the violin atage six under the supervision of his father, a former princi-pal trumpet player with the Sibiu State PhilharmonicOrchestra. At the age of eight he played his first solo recital,and at thirteen he performed his first concerto with a pro-fessional orchestra.

In 1982, Mr. Szasz moved to the city of Cluj to study vio-lin with Mihai Wunderlich at the Cluj Music School andMusic High School and later with Andras Agoston andVictoria Nicolae at the Gheorghe Dima Music Academy. Atage nineteen, while still a student at the Music Academy, helanded a position with one of the top orchestras inRomania, the Cluj State Philharmonic Orchestra, withwhich he toured Europe extensively, recorded, and per-formed as a soloist on many occasions.

After graduating from the Gheorghe Dima MusicAcademy and following studies with Alberto Lysy at theInternational Menuhin Music Academy in Gstaad,Switzerland, Mr. Szasz moved to the U.S. and continued hisviolin studies with Vasile Beluska, Yair Kless, Gerald Jarvis,

and Patrick Rafferty. He also studied chamber music withmembers of the Franz Schubert Quartet, Audubon Quartet,Emerson Quartet, and Fine Arts Quartet. He attendedBowling Green State University in Ohio and The Universityof Alabama in Tuscaloosa.

Mr. Szasz hasreceived numerousawards in nationalcompetitions inRomania as well asinternational com-petitions which tookplace in Italy andthe United States,

including the "Public Prize" at the prestigious Vittorio GuiInternational Chamber Music Competition in Florence,Italy, playing with his wife, pianist Alina Voicu. Over theyears, Mr. Szasz participated in several music festivals,including the Graz Music Festival in Graz, Austria; theSopron Music Festival in Sopron, Hungary; the BlossomMusic Festival in Ohio; the Chautauqua Music Festival, NewYork; and the New Hampshire Music Festival.

Mr. Szasz continues to perform regularly in chambermusic concerts and as a soloist with orchestras in the U.S.and Europe. He and Alina live Birmingham and are theproud parents of Alex and Angela.

AWARDS PERFORMERS

THE ALABAMA SYMPHONY ORCHESTRA QUARTET

2005


MUSICIANSOLGA SHPITKO

Violin

Olga Shpitko, Assistant Concertmaster, was born inL’viv, Ukraine, and received her Bachelor of Music, Masterof Music and local Ph.D. degrees from the MoscowTchaikovsky Conservatory. While studying in Moscow, Ms.Shpitko toured many European countries with theSymphony Orchestra of the Moscow Conservatory, she wasAssistant Concertmaster of the “Young Russian” StateSymphony Orchestra and performed as a soloist with theL’viv Symphony Orchestra. Ms. Shpitko attended many fes-tivals and played numerous concerts as a member of thecontemporary music ensemble “New Music Studio”.

In 1995 Ms. Shpitko moved to Paris, France to contin-ue her professional studies, where she won First Prize atthe “Concours Musical Regional d’Ile de France” andSecond Prize at the UNESCO 8th InternationalCompetition “Flame”.

In 1997 she received the Lindred Scott Bendann EndowedScholarship in Violin and the Heifetz Fund for TalentedYoung Musicians Award and came to study at the PeabodyConservatory of Music at Johns Hopkins University.

Olga Shpitko became a member of the AlabamaSymphony Orchestra in 1999 and in 2001 won the positionof Assistant Concertmaster.

RENE REDERViola

Violist Rene Reder joined the Alabama SymphonyOrchestra in 2004. She was born and raised in Tacoma,Washington, where she attended the University of PugetSound, earning her Bachelor’s Degree in music. She then

studied at Temple University in Philadelphia, receiving herMaster of Music Degree and Performance Diploma.

Music has taken her to a handful of beautiful and inter-esting places including Colorado, Florida, Idaho,Pennsylvania, South Carolina, Puerto Rico, Europe, Israeland Argentina. In 2001, after three years in the New WorldSymphony, Rene won a position with the FloridaPhilharmonic Orchestra, which unfortunately folded twoyears later. In June of 2004, she completed a one year posi-tion with the Virginia Symphony in Norfolk, Va. Shemakes her home in Birmingham with her two cats, Peteand Repete.

JUN HOUCello

Born in XinJiang, China, Jun Hou entered the BeijingCentral Conservatory (Middle School) at age fourteen. In1987, he went on tour with the China Youth SymphonyOrchestra to the USSR, Germany and Poland. In 1988, JunHou won a prize at the Beijing National Competition.

After receiving his Bachelor of Music degree at BeijingCentral Conservatory, Mr. Jun Hou won a full scholarship atthe Peabody Conservatory of Music at Johns HopkinsUniversity. While studying in Baltimore, he won secondprize at the Mary Graham Lasley Competition and gavenumerous solo and chamber music concerts in Washington,D.C. and Baltimore. He also attended many music festivals,including the Schleswig-Holstein Music Festival in Germany,the National Orchestra Institute, and the Blue Hill ChamberMusic Festival.

Jun Hou joined the Alabama Symphony Orchestra in1998. In 2000, he won a substitute musician audition at theChicago Symphony Orchestra and since then has been per-forming every summer in Ravinia with the CSO.


The Gary Waldrep Band, from the community of Kilpatrick,near Boaz, in northeastern Alabama, is among the finest old-time/bluegrass bands in the southeastern United States.

The band performs with a traditional sound spiced withoriginal songs and old standards, making them a favorite withacoustic music lovers across the country.

GARY WALDREPGary plays the banjo, fiddle, and sings lead and tenor for

the group. Raised on the musical traditions of SandMountain, including Sacred Harp singing, old-timeclawhammer banjo, fiddling and close harmony singing,Waldrep previously performed with the Warrior River Boys,Wendy Bagwell and the Sunlighters, and the Sand MountainBoys, before creating his own band in 1998.

Gary’s musical success is measured in many accomplish-ments. In 1990, Gary was nominated for a Grammy award forhis recording of “Vintage Bluegrass” on Old Homestead

Records. Gary is an exceptionally good crowd pleaser with hisold time clawhammer style of banjo picking. For this talent,he was named “The Old Time Player of the Year” for twoconsecutive years. This honor was awarded in Nashville, TNby the Society for the Preservation of Bluegrass Music inAmerica. He is a Master Artist in the Alabama State Councilon the Arts’ Folk Arts Apprenticeship Program.

DONNA TOWNSELThe Gary Waldrep Band is proud to welcome this very

talented lady to the group. Not only is the bass player, she isGary’s aunt. She provides the rock-solid bass timing needed,as well as sings. She enjoys traveling and meeting people.

BILL EVERETTAlthough Bill can play all the instruments in the band;

you’ll see him on stage doing some great mandolin work. Youwill find Bill singing some fine lead, as well as tenor and bari-tone harmony vocals that blend great with the group. Billcomes from Dallas, Georgia.

MARK SQUIRESMark is a fiddle player from Fayetteville, GA. Mark started

fiddling at the age of 7 and he grew up playing classical,popular, gospel, country and bluegrass music. In the early 80’she played with groups in the Carolinas. Mark moved toNashville in 1986 and played with Bill Monroe and the BlueGrass Boys, The Bonnie Nelson Band, and Hubert Davis andthe Season Travelers.

AWARDS PERFORMERSTHE GARY WALDREP BAND

2005

ANNIE KAMMERER BUTRUSAnnie Kammerer Butrus, Birmingham, holds a Master ofFine Arts in Painting from the University of Notre Dameand received a 2004 Individual Artist Fellowship in VisualArts from the Alabama State Council on the Arts. Shesaid, “My paintings are meditations on changes in thecontemporary Alabama landscape. My interest … notbeing from Alabama—is to capture the experience andpoint-of-view of the farmer by documenting their land-scape and the encroaching development before their wayof life, method of farming and habitation of the land dis-appears entirely.” Her works on this theme have includedFallen Fruit and installations at Space One Eleven for“BAMA,” Shadow: Seasons and Weather: Seasons.

JERRY SIEGELJerry Siegel, of Selma and Atlanta, holds a degree from theArt Institute of Atlanta and has worked as an advertisingand corporate photographer for the last 18 years. Onexhibit are photographs from his series Black Belt Color.He said, “Sometimes you don’t realize what you have until

it’s gone. Growing up in a small town and then moving tothe city, I never really understood just how connected Iwas to Selma and the South as a whole. But with the pass-ing of time and my parents, I’ve begun to realize howmuch my hometown and its surroundings have shapedwho I am. These images are but a small part of a continu-ing study, a journey to my beginnings.”

SAMANTHA RINEHART TAYLORSamantha Rinehart Taylor, Marion, is an MFA candidate,the University of Alabama, May 2005 and is an AdjunctProfessor of Art History at Judson College. She hasworked with the Auburn University Rural StudioProgram, completing a mural for The Music Man Projectin Greensboro. Her works are about her home, the BlackBelt of Alabama. She has harvested kudzu and uses itsstaining properties as a major element in her work, tyingmaterial and concept. She said, “Through this close com-munion with place, the touching and gathering of thekudzu plant, I am connected to the actuality of the land…It is my dream to share the lyrical, subtle and feeble beau-ty of the Black Belt with a broad spectrum of viewers.”


The Alabama State Council on the Arts is proud to showcase the work of Alabama artists inits Montgomery gallery in the RSA Tower.

Expressions of Place: Three Alabama ArtistsMay 4 – June 27, 2005

EXHIBITION

2005

Alabama State Council on the Arts Staff

AL HEADExecutive Director

BARBARA EDWARDSDeputy Director

RITA GRAY ALLENGrants Assistant

JACQUELINE BERRYExecutive Assistant

GEORGINE CLARKEVisual Arts Program Manager

YVETTE DANIELPerforming Arts Program Manager

WANDA DEJARNETTEGrants Officer

DIANA F. GREENArt in Education Program Manager

JOHN MEYERSGallery Assistant

BARBARA REEDPublic Information Officer

RANDY SHOULTSCommunity Arts, Design, and Literature Program Manager

DEXTER SMITHSecurity

VINNIE WATSONPrograms Assistant

Alabama Center for Traditional Culture

JOEY BRACKNERDirector

JACKIE ELYAdministrative Secretary

STEPHEN GRAUBERGERFolklife Specialist

ANNE KIMZEYFolklife 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

Alabama State Council on the Arts2005 Celebration of the Arts Awards

201 Monroe Street, Suite 110Montgomery, Alabama 36130-1800

Phone: 334-242-4076Fax: 334-240-3269Email: [email protected]: www.arts.state.al.us

PRSRT STDU.S. Postage

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2005 arts award program

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