MS Coast NHA_Newsletter_Winter2025

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MISSISSIPPI GULF COAST NATIONAL HERITAGE AREA PUBLICATION ISSUE 20| WINTER 2025

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WELCOME From our Director

MISSISSIPPI DEPARTMENT OF MARINE RESOURCES Joe Spraggins, Executive Director

Dear Friends, Life along the Mississippi Coast has always swayed between salt and steel; one softens, one strengthens. Together, they set the rhythm, the steady heartbeat that’s carried us through time.

This winter issue celebrates that balance, where the old opens space for the new, and the familiar finds fresh purpose.

Rhonda Price, MS Coast NHA Director Andrew Barrett, Heritage Coordinator Chelsea Prince, Outreach Coordinator Jeff Rosenberg, Heritage Coordinator RoxAnn Rankin Wicker, Communications Coordinator Joyce Hart, Administrative Assistant

The “salt” lingers in the stories that shaped us in the strength of Biloxi’s shrimpers, the hum of canneries that once fed a nation and the pecan trees still guarding yards that have seen a hundred seasons.

It drifts on the south wind through Fort Maurepas Park and lives in the hands of those who keep our story alive with quiet pride, steady work and a love that never fades.

The “steel” runs through the spirit of those who build and dream. It gleams in the artists at Studio DBA, who turned a camper into a studio pulsing with Mississippi soul. It hums in the barbershop’s places of laughter, care and community. It steadies in the historian rebuilding schooners that once carried shrimp, and hope, from our Gulf to the world. And it glows in the conservationists who blend science and heart to protect the fragile beauty still touched by salt.

Each story in these pages carries the same truth: the Coast endures— salt anchors us, while steel inspires us. And somewhere between the two, our spirit stands strong, wild, warm and endlessly beautiful, just like the place we call home.

Marie Lewis, Administrative Assistant U.S. Senators Cindy Hyde-Smith 702 Hart Senate Office Building Washington, DC 20510 Phone: (202) 224-5054 Roger Wicker 555 Dirksen Senate Office Building Washington, DC 20510 Phone: (202) 224-6253 U.S. Representative (District 4) Congressman Mike Ezell 443 Canon HOB

Warmly,

Washington, DC 20515 Phone: (202) 225-5772

Rhonda Price, Director, Mississippi Gulf Coast National Heritage Area

OUR OUR MISSION MISSION ENHANCE, CONSERVE AND PROVIDE CONNECTIVITY to cultural resources of a unique and defined area through identification, interpretation and promotion.

CREATE AUTHENTIC EXPERIENCES and serve as a source of pride. Providing increased awareness and appreciation of their environment, history, culture, traditions and lifestyles.

PROMOTE ECONOMIC SUSTAINABILITY of heritage resources that benefit the entire region and support the long-term enhancement and conservation of those qualities that make the six counties of the MS Coast NHA unique.

TELLING THE AREA’S NATIONALLY SIGNIFICANT STORY to residents and visitors through activities and partnerships that celebrate the area’s unique history, people, traditions and landscapes.

Your MS Coast NHA is a partnership of communities, businesses, governmental agencies, non-profit organizations and individuals who value the region’s rich cultural and environmental diversity, history, natural beauty and traditions.

Contents HISTORICAL 07

From Dock to Depot

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Where Orchards Met the Tracks

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Discovering the Long Legacy of Fort Maurepas

INNOVATIVE 21

Raken II: A Schooner Reborn

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First Tools, First People

NATURAL 27

The Wild Work of Conservation

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Blueways: Turkey Creek

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Outpost Spotlight: North Star Sailing Charters

COMMUNITY 33

Barber Shops of the Gulf Coast

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Ready to Roll: Studio DBA

LIFE 43

Passport Stamp Spotlight

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Where the Sunlight Lingers: The Charnley-Norwood House

FLAVORFUL 47

New Year’s Day Dinner Tradition

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Southern Black-Eyed Peas and Southern Greens

Photo Credit: Benny Weinberg

CONTRIBUTORS CONTRIBUTORS Do you have a story that captures the spirit of the Mississippi Gulf Coast, one shaped by memory, heritage or a unique point of view? This is your chance to bring those voices and moments to life on the page.

If you're interested in becoming a contributor, contact RoxAnn Rankin Wicker to discuss your article submission at roxann.wicker@dmr.ms.gov.

donald scharr

Donald Scharr, a graduate of MS State University, is a retired environmental engineer and a thirdgeneration resident of Ocean Springs. While much of his career was dedicated to improving water quality along the MS Gulf Coast, Mr. Scharr has utilized his retirement years to share his knowledge of Ocean Springs through his personal experiences and the stories/photos passed on to him by his parents and grandparents. Encouraged by his sons and granddaughters, Mr. Scharr continues his efforts to document and share his glimpse of Ocean Springs’ history with his family and those who may be interested.

Andrew Barrett is a lifelong resident of Bay St. Louis and works at the Mississippi Department of Marine Resources in the Office of Restoration and Resiliency where he works on community resiliency projects and serves as the Nature Based Tourism Coordinator for the Mississippi Gulf Coast National Heritage Area. Andrew has a passion for history and nature and enjoys Mississippi stories that spotlight our coastal heritage.

andrew barrett

A resident of coastal Alabama, Jim Hannaford lived on the Mississippi Gulf Coast from 1989-96, when he was a reporter for the Sun Herald. A native of Jackson, Miss., he is also a working musician (as Jimmy Lee Hannaford). He writes for numerous publications, including Hook & Barrel magazine, Scenic98Coastal.com and Mobile Bay Monthly. In addition, he is the author of Troy: A Legacy of Champions and co-author of Buffalo Thunder: The Athletic Tradition of West Texas University.

jim hannaford

Randy is a ninth-generation Biloxian currently living in Arlington, Va., with his wife, Ann. He has avidly collected MS Coast memorabilia for three decades. He graduated from the University of Southern Mississippi with a BS in Statistics and from the University of Texas with an MBA. He spent 21 years with Accenture in Atlanta, then pivoted to a second career in business development for government contractors in the Washington area, retiring in 2020. He has five children and eight grandchildren who keep him very busy in his retirement.

randy randazzo Jim, a University of Southern Mississippi graduate and retired U.S. Air Force pilot, discovered his passion for sailing in 1993 while stationed in Kenya.

During his 25 years of service, he lived and sailed around the world, honing his skills across European and U.S. waters. After retiring in 2012, he returned home to Mississippi and founded North Star Sailing Charters, where he shares his love for the sea. His sailing adventures have taken him throughout the Gulf Coast, the British Virgin Islands, Mexico, and Cuba.

Kaylin Bruening is a field biologist with deep roots on the Mississippi Gulf Coast. In the conservation realm, she uses her position to document the area's beauty through photographs and written stories. She creates content for the Gulf Coast Nature Journal and grows marsh grasses under the Native Plant Producer Network at MSU’s Coastal Conservation and Restoration program.

kaylin Bruening

rachel dangermond

capt. jim king Rachel Dangermond is a writer and award-winning journalist who has led writing workshops across California, New Orleans and Mississippi. She has worked on race and equity initiatives with the Winter Institute, W.K. Kellogg’s Community in Practice and the U.S. Department of Justice. In 2018, she purchased the historic 100 Men Hall in Bay St. Louis, a nonprofit preserving an important African American landmark through cultural and musical events. Through its 100 WOMEN DBA program, the Hall empowers underrepresented women in business and awards scholarships to young women of color in Hancock County.

russell barnes Maurice Singleton is a freelance journalist based in Bay St. Louis. He is a regular contributor to The Sea Coast Echo newspaper, The Shoofly Magazine, and South Mississippi 6 Sports, an online sports publication. He is the former editor and publisher of Mississippi Star Magazine. He and his wife, Vonretta are the parents of three adult sons.

maurice singleton

Russell Barnes was born in San Antonio, Texas, in 1966 and soon after moved to Biloxi, Mississippi, where he still lives today. He earned a Master’s Degree in History from the University of Southern Mississippi in 1997, focusing his thesis on Biloxi’s boatbuilding industry. For more than 30 years, he has researched and written about the maritime history of the Mississippi Gulf Coast, particularly fishing and freight schooners from 1865 to 1930. Barnes has also taught history at Mississippi Gulf Coast Community College and the University of Southern Mississippi. A lifelong ship model maker, he has built and restored commissioned models for nearly two decades and enjoys reading, research, baseball and movies.

Based in Biloxi, Jeff Rosenberg serves as the Historic Preservation Coordinator for the Mississippi Gulf Coast National Heritage Area under the Mississippi Department of Marine Resources. He supports preservation efforts across the state’s six southernmost counties and has prepared numerous National Register of Historic Places nominations - from Pascagoula to Pearlington highlighting the Coast’s architectural and cultural heritage.

Outside of work, he enjoys exploring the natural beauty of Mississippi and beyond.

jeff rosenberg

H I H I S S T T O O R R I I C C A A L L

Biloxi Shrimp Packer Label. Photo Credit Randy Randazzo.

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The New Orleans, Mobile and Chattanooga Railroad was completed in 1871, connecting Mobile and New Orleans with six stops along the Mississippi Gulf Coast. This development opened new opportunities for coastal growth, with the most immediate impact felt in the seafood industry.

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First and foremost, the railroad arrived. Second, the invention of artificial ice machines made ice available year-round.

Third, advancements in seafood canning technology set the stage for national distribution.

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he Mississippi Sound has always blessed our Coast with an abundance of seafood. However, because seafood is highly perishable, its distribution was once limited to local markets until three key developments converged in the late 1800s.

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Contributed by Randy Randazzo

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Before the railroad, seafood sales from local waters were confined largely to nearby markets. With the railroad, however, local fishermen gained access to a vast network of national markets. A rail map from 1876, when the line was known as the New Orleans, Mobile & Texas (NOM&T) Railroad, shows the NOM&T in bold lines and its connecting routes in lighter ones shown in Figure 1.

Historical | 7

New Orleans, Mobile & Texas Railroad

Figure 1: Railroads Hauled Coast Seafood to Distant Cities Starting in the 1870's. Credit: Randazzo Collection.

Seafood shipments along this network were greatly supported by the recent invention of artificial ice. The Biloxi Artesian Manufactured Company was established to supply the large quantities of ice needed for these shipments.

The only remaining challenge for shippers was navigating the complexities of working with multiple railroad companies when sending seafood to distant markets.

In 1881, the much larger Louisville & Nashville (L&N) Railroad acquired the NOM&T Railroad, greatly expanding service and network options for coastal seafood shipments.

This acquisition eliminated the need for shippers to work with multiple railroads when sending products to distant cities.

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Soon after, Southern Express established an office in Biloxi. The company acted as a middleman to facilitate rail shipments, offering convenient door-to-door delivery. Together, the expanded L&N rail network and the efficiency of Southern Express helped ignite the rapid growth of Biloxi’s seafood industry.

1881: Lopez, Elmer & Co. opened its cannery on Back Bay, importing both equipment and expertise from Baltimore. In 1884, the company became known as Biloxi Canning Co. 1884: Lopez Dunbar & Sons and Barataria Canning Co. were established on East Beach. Dunbar later founded Seacoast Packing in 1892.

By 1892: Seacoast Packing, W. Gorenflo, E. C. Joullian and J. T. Maybury companies were operating along Back Bay. These new canneries took advantage of the improved canning technology developed by G. W. Dunbar of New Orleans in 1875. An example of one of the early canning labels is shown in Figure 2.

Figure 2: The Early Biloxi Canneries Capitalized on Improved Canning Technology. Credit: Randazzo Collection.

All these canneries needed boats, which led to the rapid growth of several boatyards along Back Bay. My great-grandfather, Martin Fountain Sr., moved his boatyard from North Biloxi to Back Bay to join in on the booming industry.

The growth also attracted many immigrants. So-called Bohemians (Polish and Eastern European workers) were brought down from Baltimore for seasonal cannery work. A steady stream of experienced seafood workers arrived from the Dalmatian Coast, today part of Croatia, and Cajuns were recruited from Louisiana to work in the canneries as well.

The Coast’s canneries continued to prosper. To stay productive between seafood seasons, they began canning figs and vegetables. By 1903, Biloxi’s canneries had shipped six million pounds of oysters and over four million pounds of shrimp, earning the city a credible claim as the Seafood Capital of the World.

Historical || 99 Historical

Figure 3: Example of Biloxi Seafood Packed for Private Label Resale, Shipped by Rail. Credit: Randazzo Collection.

Canneries also began opening in other coastal towns, such as: Peerless Packing in Bay St. Louis Pass Packing in Pass Christian Foster Canning in Pascagoula Long Beach Packing and Gulfport Packing

In Biloxi, Croatian immigrants advanced through the industry, and families such as Mavar, Anticich and Kuluz established their own canneries. Biloxi’s canneries also began producing private-label seafood for resellers nationwide, an example of which is shown in Figure 3.

Figure 4: Railway Express Workers Waiting to Load a Shipment of Biloxi Seafood. Credit: Randazzo Collection.

Rail shipping remained the primary method for transporting seafood, as shown in Figure 4. This 1940 photograph captures Railway Express workers waiting at the Biloxi depot for a shipment arriving from the Deer Island Fish & Oyster Company.

Railway Express was established in 1918 through the merger of Southern Express and several other regional express companies into a single national organization.

The seafood packed in the barrels is most likely shrimp, which raises the question: what process brought this shrimp shipment from the Gulf to the depot?

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It began with a crew of two to four shrimpers heading out to sea aboard a shrimp boat, carrying a load of machine-made ice to preserve their catch. Once offshore, they lowered nets from each side of the boat and dragged them for a couple of hours. The nets were then winched in, and the catch was dumped onto the deck. The crew quickly reset the nets and began sorting through the catch, picking out the valuable shrimp and packing them in ice, as shown in Figure 5 (1940).

After icing the shrimp, the remaining sea life was shoveled back into the Gulf. The crew then rested briefly until it was time to haul in the nets again, repeating the process throughout the day. I have been on only one shrimp boat run, but that single experience gave me a deep appreciation for the hard work of these crews, often performed in difficult weather conditions.

Figure 5: Crew Member Sorting Shrimp. Credit: Randazzo Collection.

When the shrimp boat returned to the cannery, the catch was unloaded from the boat, as illustrated in Figure 6. Workers then processed the shrimp by hand, as shown in Figure 7, before loading the shrimp, packed in ice, for transport to the train depot.

Although the Coast’s seafood industry has greatly diminished today, those who remain in the trade continue to work tirelessly to deliver the delicious Gulf seafood that American consumers have cherished for generations.

Figure 6: Unloading a Shrimp Boat at the Cannery. Credit: Randazzo Collection.

Figure 7: Shrimp Processors at work in the Cannery. Credit: Randazzo Collection.

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Ocean Springs’ Pecan Story

An Orchard by the Tracks

Contributed by Donald Scharr

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rowing up in Ocean Springs, I remember the crisp air of fall always carried the scent of burning leaves, the sounds of Friday night

football, the sweet tang of satsumas and a steady supply of pecans that ripened and fell to the ground.

Virtually every yard in town had one or more pecan trees, their branches stretching across the streets and scattering nuts along the roadside. I spent countless hours exploring the longabandoned orchard behind our home, climbing trees, wandering through weathered buildings, and gathering pecans whenever I wanted a snack. Little did I know then that Ocean Springs once stood at the forefront of America’s pecan industry.

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The Perfect Place for Pecans Once prized by Native Americans, the pecan is the only nut tree native to North America. South Mississippi’s mild winters and fertile soil proved ideal for cultivation, and the first documented shipment of pecans from Ocean Springs took place in 1870. A year later, Colonel William R. Stuart retired to Ocean Springs and settled near what is now the Ocean Springs YMCA. His horticultural experiments led to larger, meatier nuts often with thinner shells, qualities that set a new standard in pecan breeding. By 1890, he had originated in the Stuart and Van Deman varieties, earning nearly $2,000 annually from his thriving orchard.

“Little did I know then that Ocean Springs had once stood at the forefront of America’s pecan industry.”

Top: Brothers, David and Andrew Scharr, in the front yard of the Wright’s home in the center of the orchard. David and Andrew were grandsons of John Wright.

The Blossoming of a Coastal Industry From 1890 through the 1930s, pecan cultivation flourished nationwide, and Ocean Springs became one of its brightest centers. Nationally known horticulturists and propagators arrived on the Coast, drawn by trees capable of producing 50 to 150 pounds of nuts each year. In the mid-1890s, Charles Pabst, developer of the Russell and Pabst varieties, established the Ocean Springs Nursery on present-day Calhoun Avenue. His success in grafting pecan stock, then a groundbreaking achievement, allowed him to grow large numbers of desirable seedlings. Pabst eventually expanded his nursery at the end of present-day Pabst Road, boasting more than 400,000 seedlings destined for orchards nationwide.

Meanwhile, Charles Forkert advanced the industry with his Forkert (paper shell), Dependable and Desirable varieties at an orchard between the Ocean Springs Harbor and Kensington Avenue. H.F. Russell cultivated the famous Russell pecan, a paper shell so thin it could be cracked by hand.

Both men sold nuts and nursery stock across the country, helping to spread the Ocean Springs reputation far beyond Mississippi. In 1899, Theodore Bechtel founded his nursery and orchard along what are now Holcomb and Bechtel Boulevards. He developed the Success and Candy varieties and became a passionate advocate for the industry, mentoring growers and promoting the region’s achievements.

“Ocean Springs became a magnet for innovators, visionaries who helped shape the nation’s pecan heritage.”

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A Harvest of Innovation By 1915, Ocean Springs’ pecan production was thriving. C.S. Bell sold 4,700 pounds of pecans from 200 trees at $0.35 per pound, while C.S. White’s 270 trees produced more than 3,400 pounds that same year. Around 1918, John C. Wright purchased a 100-acre orchard from Dr. H.L. Stewart.

Located on what is now the Maurepas Landing subdivision, the property stretched from Fort Bayou to the L&N Railroad and contained 1,000 pecan trees, Stuart, Success, Van Deman, Forkert, Schley and Russell among them. Because pecans alternate between heavy and light production years, growing multiple varieties helped stabilize income. Like many orchard owners, the Wright family also ran Fort Bayou Dairy, which provided a steady income and a natural fertilizer source, thanks to the grazing cattle that helped maintain the orchard’s soil and grass.

The End of an Era

Echoes of the Past

By the 1930s, however, the success of large orchards began to wane. Inconsistent yields, fluctuating prices and hurricane damage took their toll. The spread of pecan scab blight, which required costly spraying, further accelerated the decline. As the orchards faded, their vast acreage offered new possibilities. Many of these lands were eventually developed into residential neighborhoods, and the orderly rows of pecan trees became hidden, scattered among family yards throughout town.

Over the past 90 years, Ocean Springs’ pecan trees have slowly disappeared, leaving little trace of the industry that once defined the town. Yet the legacy of those early horticulturists endures, in family stories, in street names and in the few remaining trees that still shade our neighborhoods. I am grateful to my father and others who shared their memories of growing up among the orchards, preserving a piece of our coastal history that might otherwise be forgotten.

“If we do not share and preserve this history, it will be lost forever.”

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A Living Legacy The next time you drive through Maurepas Landing, imagine being surrounded by 1,000 pecan trees heavy with nuts, ready for harvest. As you pass homes along Stuart, Russell, Pabst, Bechtel and Halstead, remember the individuals whose innovation and hard work helped shape not only Ocean Springs, but the nation’s pecan industry.

Roberta Iliff (family friend) holding David Scharr at the Wright home/orchard. 1942.

Credit: Donald Scharr.

John Wright, circa mid 1940s. Credit: Donald Scharr.

David Scharr. The Wright orchard in the background.

Mid-to-late 1940’s. Credit: Donald Scharr.

David and Andrew Scharr beside the Wright home. Circa 1947. Credit: Donald Scharr.

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Historical | 15

Statue of Pierre le Moyne d’Iberville.

Photo Credit: Stephen Anderson.

Discover

THE LONG LEGACY OF FORT MAUREPAS Contributed by Jim Hannaford

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ecause of storms and other catastrophes, and through the passage of time, many of the Gulf

Coast's historic structures no longer exist. A very prominent case in point is Fort Maurepas, which was built by the French in 1699.

While the fort’s presence here was relatively brief, France’s foothold in this part of the world led to significant and lasting cultural changes.

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“This period in our history was the first attempt by a European power to colonize the region,” says Brother Rogers, historian with the Mississippi Department of Archives and History. “It was also the beginning of conflict and negotiation with Native Americans that shaped how Mississippi developed. The most significant part of the French Colonial period was the introduction of African slavery to Mississippi.”

And, of course, their impact also reached into religion.

“While the majority of Mississippians who are religious are Protestants, many on the Gulf Coast are Catholic,” says Rogers. “That Catholic influence started with the French settlement on Biloxi Bay.” We know from historical accounts and archival maps that Fort Maurepas stood on a high bluff on the eastern shore of the body of water we call Biloxi Bay. But where exactly was it?

Though the issue has long been debated, most historians agree on one particular area, and there is physical evidence that seems to bear that out.

Top: Photo Carte particulière des environs du Fort Maurepas et de la Baie des Biloxys, drawn by F. Jousette, 1701. Courtesy of the Bibliothèque nationale de France.

Center: “Plan du fort de Maurepas à la coste méridionale de la Floride,” courtesy of the Bibliothèque nationale de France (BnF), Département des cartes et plans.

Below: 1939 D’Iberville Reenactment, Ocean Springs, R.S. Kimball Collection, courtesy of Ray L. Bellande

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Statue of Pierre le Moyne d’Iberville.

Photo Credit: Stephen Anderson.

Top Right: Observers sitting on the Fort Maurepas replica during an “Iberville Landing” reenactment. Courtesy of the Ocean Springs Museum of History Archives.

Bottom three photos: Courtesy of the Ocean Springs 1699 Historical Society Archives.

'FORT MAUREPAS' TODAY One thing that is certain is that the real French fort was not located where Fort Maurepas Park is today, which is along Front Beach between Martin and Jackson avenues. That parcel of land has a fairly long history of its own, however, as a place that duly serves as an everyday reminder of the Mississippi Gulf Coast's French Colonial heritage.

Since it opened in 2009, the park has become an extremely popular gathering place for residents and visitors. The scenic view across the bay toward Deer Island is commanding, and many young families enjoy the splash pad and playground as well as the covered pavilion where they can assemble to celebrate special occasions.

While there, they can also soak up some history: a low stone wall suggests the outline of the original fort, and visitors can gaze at a statue of the man who started it all three centuries ago, a French-Canadian explorer named Pierre le Moyne d'Iberville.

When Katrina came ashore in 2005, a bare-boned replica of the fort had stood at the site since 1981. Though it was never completed, the halfacre rectangular wooden structure with its distinctive palisade fence was for many years the setting for the annual springtime re-enactments of d'Iberville's historic landing. Events like that kept the monumental arrival of the French fresh in peoples' minds, and modern activities at the park (which also include live music concerts) do the same today.

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WHERE WAS THE REAL FORT? But going back in time, the French Colonial period that was so significant in our history likely started about a mile north of where a popular park bearing its name stands today.

The first to establish a European colony in what is now the state of Mississippi, the French were in control here for a relatively short time, until 1763. Their outpost in present-day Ocean Springs was inhabited for just three years, when the French moved east to what became Mobile, Ala. They then raised their banner in Biloxi from 1719 to 1722 before heading Model depiction of Fort Maurepas, artist Marc Poole, Mississippi Gulf westCommunity to establish New Coast College.

PhotoOrleans.

Credit: Ocean Springs Archives.net Based on historical research, which includes unearthed artifacts, the actual site of where d'Iberville and his crew of around 80 men built a base of operations seems to have been in the area sometimes called Fort Point Peninsula. This is the residential area that's north of U.S. 90 and the CSX Railroad tracks and roughly halfway up the secluded street that runs just east of the bayfront toward the mouth of Fort Bayou. More specifically, the trail of evidence leads to a residential enclave in the 300 block of Lovers Lane.

You won't find a historical marker there, and remnants of the fort have never surfaced, perhaps the victim of erosion, a fire or both. The remains of sunken ships, perhaps dating to the period, have long been reported, and families in the area have collected cannon barrels, cannonballs and other intriguing relics.

According to online historical archives researched by longtime Ocean Springs resident Ray Bellande (who was also the model for the d'Iberville statue at the park), we can thank a man named Schuyler Poitevent for much of what we know about the fort's probable location. On his website (oceanspringsarchives.net), Bellande reports in detail on Fort Maurepas and says Pointevant lived from 1875 to 1936 and gathered thousands of artifacts during his lifetime.

THE COLONY STONE SAGA One reason there's been some debate over the years about the location of the real Fort Maurepas is because of a confusing discovery made in the early part of the last century. A caretaker on the W.B. Schmidt property found the so-called Colony Stone, causing some to conclude that maybe it marked the site of the old fort or was even a cornerstone. On the square 10-inch-by-12-inch marble plaque is an inscription that reads, in part: "Coloniee Francoises 1699. Pe. LeMoyne Sr de-Ibvle." What was it exactly, and how did it get there?

Rather than remaining in Ocean Springs, the marker was donated in 1937 to the Louisiana State Museum in New Orleans. There were always questions about whether it was authentic, and some have even suggested that it may have been the result of a prank.

Such uncertainty adds another layer of mystery as to the exact whereabouts of old Fort Maurepas. There may not be a lot of physical evidence remaining there centuries later, but it continues to have a large presence in our heritage.

Photo of Iberville Stone and cannons found near Front Beach in 1910.

Courtesy of MDAH

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INNOVATIVE

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raken ii

S C H O O N E R

CONTRIBUTED BY RUSSELL BARNES

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n March 2020, the world shut down in response to the Covid-19 threat. With nowhere

to go and little to do, I decided to build a 1/48 scale model of a Biloxi fishing schooner. For me, the beginning of any modeling project always starts with research. In studying local schooners, three main types of primary sources prove most useful: government documents, contemporary photographs and newspaper articles. Of these, I have found customs house documents and

R E B O R N

These documents, preserved in the National Archives, can be used to accurately recreate the shape of a hull.

The internal cross-section measurements from the tonnage admeasurement allowed me to recreate the curves inside the hull.

By extrapolating these shapes to the outside of the frame, and using photographs to establish the side view, I was able to draw the three-view lines plan from which the hull’s framework could be derived. Once complete, the drawings were printed to scale, cemented to wood and carefully cut. The wooden frames were then assembled, forming the basic hull shape.

photographs to be of greatest value.

One particularly important customs house record is the tonnage admeasurement; the first document created for a vessel. Using a strict set of regulations, the customs collector measured the interior of the hull to determine cubic capacity, or under-deck tonnage.

Innovative | 21

When the framing was finished and sanded smoothly, I added the margin plank around the deck, followed by the hull planking. Planking began with the sheer strake at the deck’s edge, then continued downward from the deck and upward from the keel, meeting at the hull’s midpoint. The bulwarks (upper sides), stanchions (support posts) and margin planks were added and painted white. The hull itself was painted white above the waterline and dark red below. Next came deck planking. These planks were laid straight from the centerline to the edges. To simulate caulking, I darkened the plank edges and ends with a No. 2 pencil.

Templates ensured the planking fit neatly around the trunk cabin and hatch bases. The margin planks, painted white, created a crisp border, while the natural deck planking was left unpainted. The caprail was then added.

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Deck fixtures, including the trunk cabin, hatches, wheel box, ship’s wheel, deck pump, windlass and anchor, were constructed and installed. Each was a miniature project in itself. The cabin and hatches were painted white, and hatch covers made separately before being fitted. Cleats were added inside the bulwarks as belaying points for later rigging.

The masts and spars came next. Roughly shaped, they were chucked into a drill, sanded and tapered to final dimensions.

Details such as cross trees, jaws and saddles were added. The bowsprit was also shaped and fitted, its inner end secured between the windlass bitts (vertical posts) with a crosspiece, and its outer end projecting beyond the stem head beneath the cap rail.

“Every component, from anchor to caprail, was hand-fashioned, painted and fitted with reverence for authenticity.”

Before rigging, numerous fittings were needed: blocks, deadeyes, hooks, shackles and bull’s-eyes. The blocks were made from styrene with brass strapping; the deadeyes from boxwood, which holds detail at small scale; and the metalwork from brass, soldered for strength.

The sails, patterned from my drawings, were hand-sewn from Japara cotton. Rigging lines were made from twisted Egyptian cotton, using a homemade jig and power drill. The rope was dyed tan for running rigging and black for standing rigging.

Rigging proceeded mostly off the model until the masts and spars were stepped. Shrouds, stays and running rigging were gradually adjusted until the final appearance emerged. At times, entire sails had to be re-rigged before I was satisfied.

Over several days of patient adjustment, tugging, tightening and retying, the schooner came to life. The finished model measured 18 inches in rigged length.

Throughout construction, I shared progress on Facebook.

During this time, a member of the Fountain family reached out to ask what I planned to do with the model. When I said I wasn’t sure, he expressed interest in purchasing it. After discussion, we agreed, and he requested it be named Raken II, after a boat he and his sister had owned as children.

All photos are the property of Russell Barnes.

In 2023, not long after completion, he collected Raken II along with its display case and presented it to his father as a Father’s Day gift. Today, the model holds a place of honor in his parents’ home, where his father treasures the surprise and enjoys his Biloxi fishing schooner model daily.

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First Tools, First People CONTRIBUTED BY STEVE ZUPPA

When discussing the first people of the Magnolia State, one’s mind may turn to Hernando de Soto or the crew of Pierre Le Moyne d’Iberville, or perhaps to the tribes they encountered, such as the Choctaw or the Biloxi.

But the reality extends much further back in time, all the way to the tail end of the Ice Age. The oldest confirmed human occupation in Mississippi dates back at least to the time of the Clovis people, between 13,050 and 12,750 years ago.

But who were these people?

“They were semi-nomadic hunter-gatherers,” says archaeologist Sam Brookes. “The climate was colder and wetter than today. Mississippi had mammoth, mastodon, camel, American lion, sabre-tooth cats, giant ground sloths, bison, giant beaver and even short-faced bears.”

The Clovis culture, famous for their fluted point technology, hunted the megafauna of their time, following herds across North America and leaving behind evidence from coast to coast.

Most archaeologists agree that these fluted points were attached to light spears, or “darts,” which were propelled at high speeds using a spear thrower known as an atlatl. This tool acted as an extension of the arm, adding leverage that drastically increased both speed and force compared to hand throwing alone.

24 | Winter

Finds across North America tell us that the Clovis people hunted game ranging from rabbits to the mighty Columbian mammoth (Mammuthus columbi). This behemoth of the Ice Age could stand over 14 feet tall at the shoulder and weigh as much as 22,000 pounds.

Very little remains of the Clovis culture today. We find their iconic fluted points and remnants of their campsites, but very few physical remains of the people themselves have been discovered. One remarkable exception is the Anzick burial, an infant laid to rest in Montana with a cache of Clovis-era tools. Analysis of Anzick-1’s bones and teeth revealed that approximately 35–40% of the mother’s diet consisted of mammoth meat. Further DNA analysis demonstrated that Anzick-1 was genetically related to modern Indigenous populations.

As the Ice Age ended and mammoths and mastodons disappeared, the Clovis culture evolved. Groups across the continent began to specialize in hunting smaller species and incorporated more plants into their diets as warmer climates led to longer growing seasons and the expansion of forests. Over time, people became less nomadic, developing agriculture and more permanent settlements, which led to a great diversity of cultures across the Americas.

By the time the first Europeans arrived in Mississippi, it’s estimated that as many as 100 million individuals inhabited North and South America, the successful descendants of those hunter-gatherers who had once followed the great herds across these lands.

It should be noted that numerous sites across the New World indicate people lived in various regions prior to the Clovis culture. However, no such Pre-Clovis occupation has yet been discovered in Mississippi. Still, absence of evidence is not evidence of absence, and with continued advancements in the field, earlier habitation may yet be uncovered.

Top: Fluted points associated with the Clovis culture.

Below: Mastodon skeleton on display at the Museum of the Mississippi Delta.

Photo Credit: Steve Zuppa.

Innovative | 25

N A N A T T U U R R A A L L

The “Cliffs” of Horn Island.

“Whether from natural or man-made causes, this erosion site is a sign of the stark changes that our barrier islands regularly undergo.” Kaylin Bruening, photo credit.

THE WILD WORK OF COASTAL CONSERVATION Contributed by Kaylin Bruening

TT

he beauty of the Gulf Coast has always been one-of-a-kind, drawing in tourists for over two centuries. Sparkling waters, colorful plants and cool wildlife are just a few of the things that make this area so unique. For me, a deeply rooted love for the protection of these sights made conservation feel like the only natural choice for a career.

A LOVE STORY WITH THE COAST “Conservation felt like the only natural choice for a career.”

During college, I came across a post searching for a fieldwork assistant to help with river turtle surveys. Jumping at the chance to get some experience, it would end up being my first real taste of fieldwork. It was a little rough getting used to the gnats in your nose, egg-scented mud in every crevice and the kind of sunburns that teach you lifelong lessons. But it wasn’t until we started reaching those wild places—the ones most people never get to see—that I was truly in awe, and started to really appreciate what was in front of me. I realized then that photographing those rare moments in the field could tell a conservation love story through images of the unseen.

Over the years, my job responsibilities have changed, but the mission always remained the same: protect our resources, learn from the land and share your experience.

That mission has led me to all sorts of projects, some of which have included tasks like mapping invasive species such as nutria, apple snails and both aquatic and terrestrial plants.

Natural | 27

I quickly learned how invasive species management is a large, important part of what it takes to protect a landscape. The cost and manpower involved may seem excessive for a problem that feels inevitable, but removing invasives increases the survival odds for native species—some of which exist only here. And when you begin to see decimated land bounce back, to witness the slow return of balance, it’s a powerful reminder that this type of work matters.

Some roles have been especially rewarding—like working with our shorebirds during the summer breeding season. Duties involved documenting disturbances, surveying for nests and posting symbolic fencing around active colonies. During busy summer holiday weekends, we’d engage with beachgoers on why birds like the Least Tern, are so crucial as an indicator species. We’d then show them the young chicks through our magnifying scopes, which really drove the point home and allowed them to see the cause being supported.

In moments when human activity subsided, you could observe the everyday moments of shorebird lives: elaborate mating rituals, territorial skirmishes and chick growth milestones, such as practicing flapping their newly feathered wings. Some birds would even decorate their nests with bits of shell, sticks or colorful plastic. Each nest was a reflection of instinct and improvisation, showing glimmers of personality in the simplest act of survival. From beginning to end, you witnessed the creation and loss of life within each individual colony.

Out on the barrier islands, a similar but different set of challenges exists out within the harsh remote stretches of landscape. Through regular surveys involving the mapping of sea turtle crawls, marine debris, nutria damage and the spread of invasive plants, we’re able to identify and address some of the biggest threats to these sensitive areas (all while trying to dodge stingrays, alligators and the occasional hidden prickly pear cactus– ouch).

GUARDIANS OF THE SHOREBIRDS “Each nest was a reflection of instinct and improvisation, showing glimmers of personality in the simplest act of survival.”

28 | Winter

But it’s not all data and damage. One of my favorite things to witness out there was the wildflower display that paints the landscape in a rainbow of colors. I greatly enjoyed documenting the large variety of native plants I ran across, most of which I’d not seen before (orchids, milkweed, bluecurls and more). It was like a fun little surprise every time I traveled out there.

Still, even in remote wilderness, you can’t ignore the signs of human impact. One of the most disheartening things encountered regularly in the field is litter– mainly balloons.

When released, whether intentional or not, they drift on wind currents until they pop and fall back to earth, becoming choking and entanglement hazards. Too often, the story doesn’t end well for the native wildlife involved.

Our effort to monitor these types of debris is a constant battle, but I’ve noticed more people becoming aware of the issue over the past few years, and that kind of positive change is worth celebrating.

Even on the toughest days, having a part in preserving our wild spaces has been nothing short of an honor. It’s a privilege to be out there, doing the work, but also to pause for a moment to capture the colors, hear the sounds and translate that experience into something others can connect with.

I believe sharing photographs of the unseen is one of the most powerful ways to inspire care and curiosity.

Conservation starts with connection, and connection inspires action– and this landscape is worth protecting for future generations to enjoy.

*Birds and other species handled under proper permitting* All photos are the property of Kaylin Bruening

Natural | 29

TURKEY CREEK Words by Andrew Barrett

As part of the Mississippi Gulf Coast National Heritage Area’s Nature-Based Tourism initiative, the Blueways Program was created to offer explorers unforgettable paddling experiences along Mississippi’s beaches, rivers, creeks and bayous. There are 15 mapped Blueways across the six coastal counties, providing routes for recreational canoeing and kayaking. This spotlight highlights the Turkey Creek Blueway in Harrison County.

TURKEY CREEK BLUEWAY Originating in central, rural Harrison County, Turkey Creek flows south toward Bayou Bernard, just north of the GulfportBiloxi International Airport. Known for fishing, swimming and canoeing, it remains vital to local culture and quality of life. The surrounding community, established in 1866 by emancipated men and women, continues to embody freedom, faith and selfreliance.

For more information on the Turkey Creek Blueway or other coastal paddling routes, visit the Mississippi Gulf Coast National Heritage Area website: msgulfcoastheritage.ms.gov/natural/blueways There you’ll find detailed descriptions and downloadable maps to plan your next adventure.

30 | Winter

The Turkey Creek watershed spans just over 17 square miles of mostly flat terrain, creating a slow-moving coastal stream with tidal influence near the coast. The upper watershed features wet-pine savannas and forests, while the lower area includes urban development, such as the Gulfport-Biloxi International Airport, the cities of Gulfport and Long Beach and the Interstate-10 business corridor.

The Gulfport Lake Boat Launch, located behind Bayou Vista Golf Course on Washington Avenue (N30.42419° W89.06040°), is about one-third mile east of Turkey Bayou’s mouth. Used by both local fishing boats and recreational paddlers, it offers an asphalt parking area and a sand beach for kayak and canoe launching. The tidal range averages less than two feet, with brackish water in Bayou Bernard and freshwater in the creek’s upper reaches. During dry periods, upper areas beyond mile marker 2 may be too shallow for paddling.

Local marshes are dominated by needle rush and duckpotato, with narrow bands of smooth cordgrass (Spartina alterniflora) and salt-meadow grass (Spartina patens).

This diverse habitat supports migratory bird species, including Brown and White Pelicans, Ospreys and Cormorants, and is known as an Osprey rookery.

NORTH STAR Sailing Charters Contributed by Capt. Jim King

I’ve spent most of my life navigating, first through the skies, and now across the waters of the Mississippi Sound. I grew up in the U.S. Navy, following my father from base to base until he retired to Mississippi when I was in high school. After graduating from the University of Southern Mississippi, I began a 25-year career in the U.S. Air Force as a C-130 navigator and, later, a pilot. My family and I lived all over the world, but no matter where we were stationed, I was always drawn back to the water.

In 2012, I retired from the Air Force, returned home to Mississippi and took over North Star Sailing Charters. What started as a leap of faith became one of the best decisions of my life. I ran the ASA Sailing School in Gulfport from 2012–2023, eventually closing the school to focus solely on charters, which makes life much easier. I also sold Polaris in 2023 and now sail only Kashmir, my 40’ Catalina sailboat.

My first sailing experience came in 1993 in Mombasa, Kenya, and it changed everything. It wasn’t until 2006 that I took my first sailing lesson, ASA 101 and 103 in St. Augustine, Fla., and I bought my first boat the following weekend. When you find your passion, you dive in headfirst.

While I no longer teach ASA-certified courses, I still share my love of sailing with others in a more informal way, helping friends and clients develop their own passion for the water without the structure of official certification.

I started sailing around Jacksonville, Fla., and later in England, where I completed the Royal Yacht Association’s Day Skipper course and spent three years exploring European waters. When I returned to the U.S., I kept my boat on the Potomac River for a year before moving it to the Chesapeake Bay. No matter where I lived, I found a way to sail.

As retirement approached, I wasn’t sure what came next. After months of searching and second-guessing, my wife said something that changed everything: “Why not open a sailing school? It’s what you love.” She was right. I called the owner of a small charter business on the Coast to learn what it would take, and before long, I’d bought it.

I’ve been fortunate to sail the Gulf Coast, the British Virgin Islands, Isla Mujeres, and even Havana, but nothing compares to home. The Mississippi Sound offers wide-open water, playful dolphins, graceful pelicans and sunsets that take your breath away.

If I could offer one piece of advice, it’s this: don’t delay the dream. When the wind calls, hoist the sails and go. You just might find your own North Star.

How to Chart Your Course Location: Gulfport Municipal Marina, Gulfport, Miss.

Website: northstarsailingcharters.com Perfect for: Birthday & Anniversary Celebrations • Morning, Afternoon & Sunset Charters • Dolphin & Pelican Watching • Special Events & Private Parties

Natural | 31

C O C O M M M M U U N N I I T T Y Y

BA

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S R H E O B R

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1964

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Contributed by Maurice Singleton

More than a Cut, a Trim and a Shave African American barbershops are integral businesses in neighborhoods and communities across the United States.

Certainly, they are places where boys, young men and adult men come together to share the experiences of getting fresh haircuts - every other week, and, in some cases, weekly – and to catch up on the latest sports, music and social topics, as well as other goings on locally, regionally or nationally.

Community | 33

The Legacy of Tyrone Burton

He said that he has cut hair for five generations of families, and he proudly calls out the names of some of his clients who drove from across the Mississippi Gulf Coast to get a haircut at Tyrone’s Barber & Beauty Shop on Main Street in Biloxi during his 63

Tyrone Burton is one the longest-tenured

years as a barber.

African American barbers on the Mississippi Gulf Coast. He began his career in the early

A lot has changed on Main Street since Burton first

1960s, serving five generations of clients and

started his career in 1962. He recalls a bustling Main

mentoring barbers along the way. He and his

Street with three or four bars and night clubs, a motel,

wife raised their four children comfortably

restaurants, a laundromat and churches. Today, there

while building and growing his barbershop

are a couple of churches, but not much else in terms

business on Main Street in Biloxi.

of Black-owned businesses.

“I’m more like The Jeffersons; this is my

“It was like a little Wall Street, just in these three

fourth stop on the same block,” he explained.

blocks,” he recalled. “We had our own drugstore, Dr.

“I got a permanent spot when I got here,

(Gilbert) Mason’s drugstore. Dr. Mason was our

because I bought this lot when it became

doctor; he took care of us. And there were three

available, and I built here, and I’ve been here

restaurants, a washeteria and several clubs.

for 32 years.”

“I stood the test of time,” said Burton. “I’ve seen them go and come, but I never had a doubt.”

“I’m more like The Jeffersons; this is my fourth stop on the same block.”

Tyrone Burton

34 | Winter

The Modern-Day Pillars Felix Fornett, owner of Trinity Barber and Style Center in Pascagoula said that the barbershop is a vital business in the Black community.

“Everybody has to come to the barbershop,” said Fornett. “We’re a pillar in the community. The doctor, the lawyer, everybody has to come to the barbershop.”

He explained that barbers may assume additional responsibility when it comes to helping young men in the community find their way to manhood, particularly young men who may not have a father in the home.

Some barbers become mentors to their younger clients.

Traditionally, African American barbers have welcomed that responsibility.

“I totally agree with that,” said Fornett who is serving in his third term as a Pascagoula City Councilman. He is working with other community leaders to address the issue of gun violence and young people.

“Every city has their problem. Some cities are better off than others, but guns are everywhere,” said Fornett.

“You have to start on the elementary level. You have to get these superintendents, principals and teachers involved. A lot of them don’t really care if it’s not their kids, because it doesn’t affect them.”

“I think we got away from God when we started having stuff,” said Fornett. “We don’t struggle as much as we did at one point. A lot of things happen in society to cause people to get off focus.”

“We’re a pillar in the community.

The doctor, the lawyer, everybody has to come to the barbershop.”

Felix Fornett Felix Fornett cuts his cousin, Kevin Fornett’s hair at Trinity Barber and Style Center in Pascagoula, Miss.

Community | 35

From $1.50 to $40 Fornett also addressed the current cost of a haircut, which may range from close to $20 for youth, upwards to $40+ for adults. At age 60, his clients have crossed four generations. Burton said that the cost of a haircut was $1.50 when he started cutting hair in 1962.

“If you look at the price of a haircut from the early 1960s to where it is now, that’s probably about a $.40 a year raise,” Fornett explained. “You add it up like that, you realize that barbers were so far behind with their pricing. You have to pay bills. You can’t cut hair for free. Barbers have to charge enough to make a good or decent living.”

Both Fornett and Burton have inspired others to become barbers. Barbers are viewed as examples of

Carnell Travis cuts the hair of a young client at Cut Doctors Barbershop in Gulfport, Miss.

success. When you consider the consistent presence

“He was always cordial to his customers,” said Travis. “He would

of Fornett as a successful barber and a three-term city

always ask about their families. That was something that was new to

councilman in his community, and the 63 years that

me. It was a little bit different to me growing up because I wasn’t in

Tyrone has been on Main Street in Biloxi, and how

business. How much respect he showed them. How much love he

his business evolved through four locations, those are

showed them.”

very visible symbols of success. They are both inspiring examples that are worthy of compliment

In addition to the rewards of being self-employed and being able to

and possibly blue prints to follow.

provide a comfortable living for their families, all three barbers said that the additional reward was the interactions with their clients and learning from their clients.

The Next Generation One barber who took notice of Burton’s success and picked up some of his tenets is Carnell Travis, founder and owner of Cut Doctors barbershop in Gulfport. Travis said that he didn’t train or learn about cutting hair directly from Tyrone, but he did observe him and learned the people skills part from watching him work, how he treated his customers in the barbershop and on the street.

36 | Winter

“That has been the most exciting thing to me,” said Travis, who has been in the haircutting business for 40 years. “The education from my customers, the places they are from, the things they’ve been through.

Meeting people from different places, different ages, different races.”

“We counsel people, but we get counseled too,” said Fornett. “A lot of people come to us for the answer because we have the relationship. If somebody sits in your chair, and you put a razor on their head, that means that they trust you, at least a little bit. If people don’t like you, they don’t sit in your chair. They have to like you to do that.”

READY to ROLL

Studio DBA Community | 37

A Spark Becomes a Vision Contributed by Rachel Dangermond

I

n the summer of 2021, Erin Walters-Bugbee donated a 1956 Silver Streak Clipper to the 100 Men Hall, and an idea was sparked.

What if the 100 Men Hall had a mobile studio, a place to record music history in the making, as well as archive stories from musicians throughout Mississippi? That “what if” soon became a vision with forward motion and Studio DBA was born (100menhall.com/pages/studiodba) Through a MAC Building Fund grant that was aided by matching funds from the MS Gulf Coast National Heritage area, as well as, funding from Coast Electric Round Up and the Silver Slipper Hotel & Casino, the Hall spent nearly a year stripping the Clipper to its bare bones, rehabilitating its foundation and remodeling it under the expert hands of Jesse Loya (who is also the Sound and Production Director at the Hall).

The goal of Studio DBA was to create a world-class recording and podcast studio, where the Hall could capture behind-the-scenes stories about the musicians who would be playing on the historical stage. Studio DBA would broaden the mission of Bay Saint Louis’ historic African-American music landmark, 100 Men Hall to include archiving the lives of musicians.

Studio DBA at 100 Men Hall, Bay St. Louis, Miss.

38 | Winter

Credit: Gulf Coast Homegrown History Facebook page, 2025

Cedric Burnside and Patrick Williams at Studio DBA. Credit: Melanie Cole.

Community | 39

a modern-day field recording Studio DBA’s functionality was modeled after the 20th Century work of Alan Lomax, an American musician and ethnomusicologist, who preserved American folk music through field interviews and recordings. Likewise, the 100 Men Hall Studio DBA project would document through story-telling, live music performance and candid interviews, the music and art of Mississippi.

When Studio DBA was completed in May 2025, Hill Country Blues Grammy-winner Cedric Burnside was the first to be interviewed and recorded inside the studio.

Burnside was already scheduled to play a Mother’s Day Blues Brunch with Patrick Williams, so the timing was perfect. A few of us sat in as Rachel interviewed Cedric and Patrick about their lives as working musicians, and then Jesse recorded a music session with them on the other side of the studio. It was a dream come true!

Cedric Burnside. Credit: 100 Men Hall.

Cedric Burnside, Patrick Williams and Jesse Loya at Studio DBA. Credit: Melanie Cole.

40 | Winter

the soundtrack of the coast Since its debut, Studio DBA has interviewed Chitlin’ Circuit icon Bobby Rush, harp virtuosos Jason Ricci and Johnny Sansone, blues musicians Josh Garrett and Johnny “Boogie” Long, guitar master Jimmy Robinson, Cajun super stars Jourdan Thibodeaux and Wilson Savoy, New Orleans greats River Eckert and Jake Eckert and the talented singer-songwriter Sunny War. All of these interviews reside on the Hall’s YouTube channel. www.youtube.com/@100menhallbaysaintlouisms Bobby Rush at Studio DBA. Credit, Melanie Cole.

taking it on the road Bobby Rush, Rachel Dangermond, Ben Jernigan, and Mike Falgout at Studio DBA. Credit, Melanie Cole.

Jake and River Eckert with Rachel Dangermond at Studio DBA. Credit, Ann Madden.

The next step for Studio DBA is to take it on the road and head to out-of-the-way areas of Mississippi to highlight the music and history that make up the rich cultural heritage found here.

Mississippi is known as the birthplace of American music, having forged a unique sound that came from transcending struggle - the blues and gospel – which then gave birth to the genres that followed: rhythm and blues, jazz, rock n roll and country.

The 100 Men Hall has hosted a seamless run of all genres of music, and Studio DBA intends to capture it for generations to come.

Concludes Dangermond, “You know you are onto something when all the pieces fall into place. After the camper was donated, the vision to create a recording studio was made manifest when MacArthur Fellow author Jesmyn Ward asked to record her fourth novel, ”Let Us Descend,” at the Hall. Shortly thereafter, Filmmaker Pat O’Connor recorded his voiceover for an upcoming film.

Timing for the opening of Studio DBA plus the

willingness of financial support from our partners was serendipitous. This happens when you’re onto something cool and Studio DBA promises to be just that – a first class recording studio that is ready to roll.

Community | 41

LIFE

D ec 8 20 0

4

Heritage Train Depots The Train Depots that Built our Story Before highways reshaped travel, the railroad was the heartbeat of the Mississippi Gulf Coast, moving seafood, timber, crops, tourists and local families from town to town and far beyond.

Today, four historic depots tell that story and are featured in the Passport to Your National Parks® Program through the Mississippi Gulf Coast National Heritage Area.

The 1907 L&N Depot in Ocean Springs replaced an earlier station near Washington Avenue and quickly became the center of local commerce and tourism. After the rail service ended in 1965, the building became the Ocean Springs Chamber of Commerce - Main Street Tourism Bureau, now listed on the National Register of Historic Places.

The first depot in Bay St. Louis was built around 1879, but after a fire destroyed it in 1928, the L&N rebuilt the landmark Spanish Colonial/Mission-style depot in 1929. It now houses the Alice Moseley Folk Art Museum. The station also appeared in the 1966 film This Property Is Condemned, starring Robert Redford and Natalie Wood.

Gulfport’s 1904 Union Station connected the L&N and Gulf & Ship Island lines and later linked the Coast to Chicago via Illinois Central sleeper service. A major hub for lumber and naval stores, the depot now operates as the Gulfport Museum of History.

Rail arrived in Picayune in 1883, fueling growth and industries like timber and tung oil. The depot evolved into today’s Picayune Intermodal Tourist Center and Museum and remains an active Amtrak stop, continuing the town’s long rail legacy.

Together, these depots preserve the history of a coast built by rail and invite visitors to explore that story one passport stamp at a time.

Life | 43

WHERE THE SUNLIGHT LINGERS the clarity of the

CHARNLEY-NORWOOD

CHARNLEY-NORWOOD

CONTRIBUTED BY ROXANN RANKIN WICKER & JEFF ROSENBERG

Nearly half of its façade is glass, with 26 doors and 33 windows, each pane an invitation for sunlight to linger and for shadows to dance softly across the heart pine floors. As philosophy in form, the Charnley-Norwood House asks what it means to dwell with nature rather than apart from it, where light and air become part of the architecture itself.

T T

here are houses that stand, and then there are houses that shine. Perched high on East Beach, where the

Gulf’s salt air curls against the pines and the horizon hums in powder blue tones, the Charnley-Norwood House does both.

It stands, humbly hugging the earth, an architectural marvel of its era. Even after all of these years, the house shines, her walls shimmer, her windows and doors provide a kaleidoscope of light that seems to feel like a beautiful exhale.

During the century when glass was emerging from its artisanal infancy into industrial modernity, Sullivan and Wright saw its potential not as ornament, but as revelation. Labor, fuel and transportation were as integral to glass production in the 19th century as they are today. The original wood windows and doors frames were produced in a local carpenter’s shop, while the large panes likely came from the great glassworks of the Midwest. It could be produced in ever increasing sizes and shipped anywhere in the world. Glass, no longer a fragile luxury, became a voice, an innovation that allowed a building to speak in light.

Born in the visionary minds of Louis Sullivan and his young apprentice Frank Lloyd Wright, this 1890s masterpiece whispered of a new South, not bound by the weight of columns, plaster or lacework detailing, but open, honest and illuminated by the constant breath of nature all surrounding. It was a structure that dared to invite the outside in, and the inside out, long before the world was ready to see such vulnerability in a home.

And speak it does. The Charnley-Norwood House glistens with the language of transparency, its windows reflecting the Mississippi Sound’s quiet resilience. It is at once both structure and poem, each window a stanza, each open door a metaphor for progress.

Fun fact: The home’s extensive use of glass includes a borrowed light window. A glazed opening on an interior wall, a borrowed light window was designed to illuminate an interior space, such as a closet or hallway, with natural light.

Life | 45

FLAVORFUL

HANDEDDOWN The Soul of Southern Cooking‌

Southern New Year’s Day Dinner R OX A N N R A N K I N W I C K E R The South wakes slowly on January 1st.

Through the back door of my Grandmother’s house, a chorus of smells would greet you on New Years Day: greens simmering in a pot heavy with smokiness from the richness of pork, black-eyed peas dancing in rich broth full of flavors and cornbread golden and warm.

There were no arguments here.

In the South, the start of a new year always begins with three essential things: pork, greens (sometimes cabbage), and black-eyed peas, each carrying its own meaning. You ate them because you must, because tradition demanded it. After all, the old year had gone, and the new one waited with open arms.

Black-eyed peas, slowly simmering, were symbols of “coins.” Greens, whether collards, mustard, turnip, really, whatever was cheapest, their bitter sweetness a promise of wealth in the new year, like “folded money” in a pot.

Both with their fair share of added pork, always pork, usually from a Christmas ham that was basted in Coca-Cola or pineapple juice, it was far too good to waste away for scraps, if you can believe it, the pork is represented for health and prosperity. The cornbread is optional, yet essential, to the tradition and was always considered our “gold.” This was a traditional meal that began at noon and was celebrated all day.

This is how we begin the year: Out with the old. In with the new. And with every bite of greens, beans, pork and cornbread, we taste not just food, but fortune, and the slow, steady heartbeat of a Southern soul.

Flavorful Flavorful || 47 47

RECIPES

black-eyed peas

Ingredients 1 pound dried black-eyed peas, preferably Camellia 2 tsp. smoked paprika 2 tbsp. apple cider vinegar, or to taste 2 tbsp. vegetable oil 1 1/2 cups onion, chopped 1/2 cup green bell pepper, chopped 1/4 cup celery, chopped 5 cloves garlic, chopped fine 2 bay leaves 1 tsp. dried thyme 1 pinch baking powder (optional) Salt and cayenne pepper to taste

Directions First, soak the peas in salted water. You can let them soak overnight, or use the quick method: bring them to a boil for five minutes, then let them sit for an hour.

After soaking, drain and rinse the peas.

In a large pot, heat the oil and sauté the onion, pepper and celery until they turn golden. Add the garlic toward the end so it doesn’t burn. Then add all the remaining ingredients, except the baking powder, pouring in enough water to just cover the peas (heating the water in a kettle first can help speed this step). Stir in the baking powder—it helps the peas cook more quickly.

Bring the mixture to a boil, then reduce the heat to a simmer.

Cover and cook, stirring occasionally and checking to see if you need to add more water. You’re aiming for a thick, hearty dish at the end, not a soupy one. Depending on the peas’ age, cooking with the baking powder can take anywhere from 45 minutes to three hours.

southern greens Ingredients 1 tablespoon vegetable oil 1 cup chopped onion 2 to 3 smoked ham shanks, or 1/2 to 1 pound leftover ham of any kind 2 cloves garlic, minced 2 cups chicken broth 1 pound turnip greens, well washed and chopped 1 teaspoon sugar 1/4 teaspoon freshly ground black pepper 1 dash cayenne pepper 1 teaspoon of white vinegar Salt, to taste Directions Heat oil in a large pot and sauté onions until soft and translucent.

Add ham shanks, browning on all sides, then stir in garlic and chicken broth. Simmer covered for 30 minutes. Remove the shanks, add the turnip greens a handful at a time, and stir in sugar and peppers. Dice or shred the ham and return it to the pot.

Simmer uncovered for 10 minutes, then cover and cook another 30, until the greens are tender and the broth rich. Stir in the vinegar at the end. Taste for salt and serve hot straight from the pot, full of Southern warmth and flavor.

48 | Winter

The LaPointe-Krebs House (formerly known as the Old Spanish Fort) was built during the French Colonial period in 1757. It is the oldest scientifically dated building in Mississippi and is likely the oldest house between the Appalachian and Rocky Mountains. It is the only remaining example of tabby concrete construction on the entire Gulf Coast. It is designated a Mississippi Historical Landmark and listed on the National Register of Historic Places. International and State awards have been issued for the Interpretive Museum.

WE OFFER GUIDED TOURS, HOMESCHOOL STUDENT TOURS, AND STUDENT FIELD TRIPS BY APPOINTMENT.

OPEN 7 DAYS A WEEK Closed for Major Holidays Group Rates Available Monday – Saturday 10 am – 5 pm Sunday 12 pm – 5 pm Admission: Adults $5; Senior & Military $4 Student (13–18) $4; Children (5–12) $2 Ask about our Blue Star Museum discounts for Active Duty and Retired Military.

602 FORT STREET PASCAGOULA, MS 39567 228-471-5126

LAPOINTEKREBS HOUSE & MUSEUM KREBS COTTON GIN Invented and operated by locally born Joseph Kearny, this gin was patented in 1793 as the earliest known model.

Phone: (228) 523-4150 msgulfcoastheritage.ms.gov Email: heritage@dmr.ms.gov Facebook & Instagram: MSCOASTNHA

A lone Biloxi Lugger outbound in the Mississippi Sound, circa 1940s. Photo credit: Randy Randazzo.