Click here to turn page Premier Issue
Charleston digital 21st Century Charleston South Carolina 2012
At 10:27 am Pacific Time (18:27 GMT), on the 15th December 2009 the first Boeing 787 Dreamlinerâ„˘ eased effortlessly into the skies powered by two Rolls-Royce Trent 1000 engines. This marks the debut of the quietest, cleanest and most fuel efficient airframe and engine partnership flying today.
The 2011 S400 HYBRID Sedan
Baker Motor Company
1511 Savannah Highway, Charleston, SC 29414 | (843) 852-4000
photo by Steven Hyatt
Charleston digital is an online magazine covering the great beauty and cultural diversity of Charleston, South Carolina. Occasionally Charleston digital will take you to the mountains or a southern mesa in Colorado to an orchard dinner with a former native. Within each issue, 21st Century Charlestonâ€™s reflection and character will come alive through modern technology and give readers a sense of time and place in contemporary Charleston. Charleston is the Jewel of the South. Always a beautiful sea town and a place that draws not only touring visitors, but a constant flow of wonderful people who make up its fabric of life. Some of Charlestonâ€™s natives have been here a few days and some of its lovely families have been here for centuries.
photo by Brownie Harris
Editor’s Letter I am very excited about the launch of Charleston the Manual. It has been a long time in the making and a lot of talent has contributed to the end product. First, the genius of Nancy Lucas, who has taken the raw idea and translated it into a reality. Next, the wonderful photographers Brownie Harris, Jack Alterman, Paul Cheney, Andy Anderson, Michael Eastman, and Bette Walker. And not without the gifted writing of Fancis O’Neill, Julian Brandt and many more greats have all given their talent to create the first manual to Charleston. Every day new material is added as the Manual comes to life with a reflection of the best that Charleston has to offer, both to the native and to the visitor of the Holy City. Everyone that lives, works and plays here has a romance with their home port and Charleston the Manual is proud to be a part of that world. John Wilson Editor in Chief
photo by Brownie Harris
Charleston digital Contents
e Never Outfoxed - Ben Hardawayâ€™s July Hounds and the Joy of Hunting by Laura Kreuzer e photos by Andy Anderson and Kendrick Mayes
Alfred Heber Hutty - The Charleston Etchings by Julian V. Brandt, III
Boeing South Carolina Futureville The Lovely Road to Wellness - the Spas of Charleston Sutcliffe Vineyards and Brix Restaurant Harvest Dinner by John Sutcliffe e photos by Heather Greene
Hydrogen 2 Parts Oxygen - Boarding in the Lowcountry with Gretta Kruesi and Tommy Baker photos by Eric Bradshaw and Bette Walker
Jake Moss - Making Green Priorities by Liz Clark Bill McCullough - Artist by John Wilson Itâ€™s the 7th Inning and We Are Down by 1 Run - A little wisdom from Ted Turner by Adam Bernholz e photos by Andy Anderson
Shakers & Movers - the 21st Century: Mike Seekings - the 1st MBA class of the College of Charleston - Haley Dreis - Tommy Baker - Hope&Union - Mark Bryan - Mike Lata - a lady farmer - Ham Morrison - Go Go Ferguson - Bin152 - Tara Guerard photos by Brownie Harris and Bette Walker
Sambo Mockbee - Citizen Architect by Neil Stevenson The Lodge at Cabin Bluff
Charleston digital John D. Wilson Editor in Chief Nancy Lucas Creative Director
EDITORIAL Managing Editor INTERACTIVE Cosma L. Muresan - Data Architect & Social Media Director CONTRIBUTING EDITORS Liz Clark, John Sutcliffe, Julian V, Brandt, III, Gervais Street Hagerty, Neil Stevenson, Brownie Harris, Ned Brown, Guy Garcia,Isaiah Martin, Francis Oâ€™Neill, Doug Berger, Melissa Sweazy CONTRIBUTORS Laura Kruezer, Natalie Warrington, Raphael Jones, Adam Bernholz, Charles Carmody, Heidi Perez, Allison Leong, John Cusack, Ghana Elshabazz ART Nancy Lucas - Developer/Designer, Assistant to the AD - Jayne Worth PHOTOGRAPHY Jack Alterman - Director of Photography, Brownie Harris - Senior Photo Editor, Contributing Photographers Paul Cheney, Steven Hyatt, Bette Walker, Eric Bradshaw, Gayle Brooker, Audra Rhodes, Juliet Elizabeth, Jason Kaumeyer, Kathleen Saunders, Kendrick Mayes, Heather Greene - Teluride, Melissa Sweazy - Memphis, Michael Eastman - St. Louis, Andy Anderson - Idaho, Caitlin Mitchell - NYC ADVERTISING John Wilson (843) 642-5692
Mockingbird Digital Enterprises, LLC Chairman John D. Wilson - Chief Executive Officer/Publisher, Legal Counsel - Christopher Wyatt, copyright 2011, Mockingbird Digital Enterprises, LLC, 47 A Charlotte Street, Charleston, SC 29403 Inquiries: theManual4@gmail.com
m By Laura Kreuzer Photography by Andy Anderson
Ben Hardaway heads out across the field at his farm in Midland, Ga., knee deep in foxhounds. “Come on, get on,” he fusses, shooing them along. The hounds yip and bugle, bump and run, caught up in the joy of being dogs. “There must be 130 of them,” he says, shaking his head. “That’s ridiculous, isn’t it?’’ Hound manager Mark Dixon and two outriders herd the hounds together and head them out for a training session on the backroads of the farm. As the pack crests the hill and disappears from sight, Hardaway sighs. “There goes my life.” Hardaway was about 10 years old when he first heard the siren song of the hounds. “An old man who lived out this way had a pack of foxhounds. I was out at the farm one day and they came running down through the draw here. Hearing them just set me on fire. It was like something was in me that had to come out, something primitive. I had to have some of those hounds.” He acquired a small pack and ran them with a farmhand. He might have been happy with what he had but fate, he says, had more in store for him. “Mr. George Garrett lived out here on Garrett Road. And he took an interest in me, in this kid who was nuts about foxhounds. “Mr. Garrett was known as the breeder of the July strain of the American foxhound. He was famous for his hounds. Rich Yankees used to come down here to hunt with Mr. Garrett. They’d come down on a train and put it on a siding over there and hunt with him because of his great
pack of dogs.” Garrett, who in 1947 wrote the book “Fifty Years with Fox and Hounds” that many consider to be the bible for foxhound breeders, encouraged Hardaway to improve his pack. “He said my hounds were nice but he wanted me to have his strain of Julys. He didn’t have any of the original strain anymore -- he was already pretty old then -- so he sent me to see his nephew, Mr. Kelly, up near Talbotton, and he had a pen full of Mr. Garrett’s dogs. And we bought two puppies from Mr. Kelly.” “That pure July strain is in each of the dogs in my kennel
Chronicle of the Horse, calls Hardaway’s hounds “hunting machines.” Winants, who lives in the prime hunt country of Middleburg, Va., has hunted many times with Hardaway. He remembers when Hardaway brought his dogs to Virginia for a major foxhunting trial -- a recreation of a showdown between a pack of English dogs and American dogs. For this trial, the Midland foxhounds were pitted against the Piedmont hounds for a five-day trial. “The Piedmont Hunt has been around since 1840. They were considered to be some of the best dogs in
today,” Hardaway said. “It goes back for 15 generations -- from mother to grandmother to greatgrandmother and on back.’’ He has improved the breed, outcrossing it to keep the hybrid cross strong, adding in some deerresistant genes from English packs. “The English blood gave them some intelligence and some biddability. That’s what we call it. They have to be biddable.” But it’s how they run together in a pack that is the real test of a foxhound. “If they’re all running together and giving cry together and swinging together, that’s what I’m looking for. I’ve never worried much about the cosmetics or breeding for a certain color or the way a foot turns. I would have lost half my stock that way.” His hounds, known as Midland foxhounds, are never sold. “I give a lot away,” he says. “We start a lot of packs. I’m real proud that there are about 15-20 packs of hounds that have 90 percent Midland blood in them. Packs that were started by people that believe in me and my breeding program and my hounds.” Peter Winants, a retired writer for the weekly
the country. Stocky, bred for running open fields, they were all the uniform tricolor like the English foxhounds you see in pictures.” Hardaway’s skinny, coats-of-many-colors hounds, bred for the pine forests and underbrush of South Georgia, stood out like rubes at the cotillion. “But boy, could they hunt. They beat all the Piedmont hounds, they beat every hound on the field.” Hardaway is pleased that his hounds are known all over the country and even in England. “That’s been a real ego trip for me, to have English breeders import my hounds. After all, they are the foxhound people. They hated to admit it, but my dogs have a better nose and a better cry and they just do the job better.” Ann Hughston, of Columbus, has been foxhunting with Hardaway and his hounds since she was 10. “A bunch of us started riding ponies as kids and then as we got older moved up to the hunt. You can go into any hound situation anywhere in the world and say ‘I hunt with Ben Hardaway’ and doors will open for you,’” she said. “Everybody knows
him. You have instant friends.’’ Hardaway is at ease with everyone, she added. “He can have lunch with Prince Charles one day and the next day be talking to someone who doesn’t have two nickels to rub together. It doesn’t matter to him.” Hughston, who breeds Bassett hounds, credits Hardaway with an intuitive sense of what makes a good dog. “I can look at 6-8-week-old puppies and to me they
don’t look like anything but puppies.” But, she says, Hardaway will look at the puppies “and say ‘I like that one and this one looks good’ and sure enough, every time, those will be the ones that turn out to be the best. He sees something that no one else does. And to him it’s so clear. It’s a gift he was born with and he’s pursued it.” [d]
RAPHAEL JONES Explores the Pursuit of the
Elusive Fox Photography Robert Jenkins
At the base of the long rambling slope of hills are the strange delineations of sand and heavy rock which line the shores of the Irish Sea. The sea is clearly visible in this light early morning mist. Behind us is the empty and abandoned stone walled barn and stableyard and underneath the elm branch one can see the lintels and facings of the fine Georgian doorway that now gives way into, again, an empty place. But, there is excitement in the air, the abandonment notwithstanding. The houndyard is full of Westmorelands, seasoned dogs and bitches and puppies just starting. All bump and jump and growl and squeal with excitement of the cool early morning cubbing that is soon to follow, knowing that the run toward the sea is about to begin. A few thousand miles away, on land that is hundreds of feet near sea level, with thick piney woods and heavy early autumn air that is, nevertheless, cool enough to make horse and hound feel good, the sounds around the houndyard are the same. Cubbing season means that hunting is well and truly on its way and in the old world and the new, a special excitement has returned to, the country. County Wicklow is a far cry from Middleton Place
and an Irish stonewall bears virtually no resemblance to the Aikens and Coops in the plantation country. Yet, the sounds are the same, the leather smells and looks the same, the lingua franca is almost the same and in many ways, the sound of the voices are the same. Horses and hounds tend to put a stamp on all who love them, no matter where they are found. What is it about these two places and foxhunting that makes people struggle over country meant only for goats or wildhogs? What makes a reasonable person chase the stern of some pack, usually at a distance too far to see much more than the odd flash of a furry back, to find oneself very often scraped and fanny-sore, sometimes bruised and broken at the end of the day? What makes foxhunting survive centuries virtually unchanged? It is true that it has a certain smart look, an elan about it, especially when the hunt is “formal”, boots blacked, caps and coke hats brushed, and when meltons and saddlebags and pink coats are sported. But at best, this can tell only a small part of the story. Perhaps it is the festivities, the Hunt breakfasts, the tailgate picnics and the flasks of port and brandy, that
all photos this page by Kendrick Mayes
account for some of the draw of man (woman) and beast to this arcane business. Perhaps it’s the fellowship, the lies and laughter of shared experiences amongst a group of fellow travellers who often as not have nothing else in common but this common love of a not-so-commonplace form of play. In point of fact, foxhunting (or riding to hounds or just Hunting as opposed to shooting) is all of those things. But it is not easily, honestly defined. It is a “bloodsport” that is very nearly anemic for want of a kill. It has been called something like, “...the sport in which the inept chase the inedible in order to commit the unpardonable.”
gregation who continue flinging worldly selves, horses and epithets over all walls, churchyards not withstanding. One doesn’t find much more than a passing reference in the tomes of the Hunting Literati to any such priests, but still one can image the scene: a last amen to the St. Herbert intercession drifting across greensward, a quick tuck and toss of surplice and stole and then, before the admiring eyes of the merely mortal pedestrians, the Bishop vaults into the saddle and calmly walks his horse out, leading the pack and his flock, both master and minister, toward a great sporting communion of sorts. (Forgive me, Father, for I fear I have, once again, let fantasy fly to sin.)
None is entirely true but it does have a certain ring to it. One benefit of such pronouncements is that the literate amongst the offenders have a laugh. (Hunting Folk are known for both gritting teeth and grins, you see.) It is held to be anathema to the “antics” and a scorn on the social conscience, an attitude which is itself a snob’s sneer and uninformed to boot. In fact, no sport cuts a broader swath across social layers in so many countries and cultures. From the small farmer to the city swell, from the academic to the entrepreneur, from priests to politicians, one hunts with the lot of them and the rules apply to all with an even hand. The primary rule is: It is I who art Master of Foxhounds and ruler of all that I survey (for the next few hours at least) and shouldst thy foot or that of thine horse tread upon a single hound, then I admonish thee to give thy soul to God, for verily, thine arse is mine. (There are other rules but this one has a place of some importance.) Fox hunting is an anachronism and full of self contradictions but, on a good day, nothing is more fun. Foxhunting is an ancient endeavor, as we know and as such it has as much legend about it as it does present reality. One of those legends which has for me a particular appeal is that of the sporting parson, the valiant hunting vicar, that cleric in collar and pink who rides up with the best of them and who, by his very presence in the field manages, to a degree, to absolve his all-too-secular con
Legendary hounds are a part of the myth and the reality of the Hunt. In fact, though there is a group of us who are saddened by the admission: The horse came after the hound in the evolution of hunting. Originally, one rode to hunt, not the other way round. The vestiges of those great hoary beasts of the ancient field can be found in the shaggy muzzles of the Irish wolfhound, the staghounds and in the massive strength of the great Danes. The ancestors of these creatures wound have been followed by our Celtic and Tartan forebearers on foot. In fact, these creatures probably dragged our crowd by the leashes through thousands of miles of thorns and thickets until someone was clever enough to mount a horse and thereby save some wear and tear. How, the packs are made up of lines and forms which have been bred through centuries to suit the work for which they are called. Some packs still hunt wild boar. Some, in Ireland and France and here, still chase deer. Most, of course, are bred to hunt fox. And since each hunt may have something in its country which needs a special hound to hunt it, many of the older hunts have developed their own lines. Amongst the many demands put on a huntsman is that most vital ability to truly know his dogs and bitches and breed them for not only uniform bone and colour but also for that unseen combination of heart, tongue and trailing talent which will give the Hunt the sport it lives by.
Names of hound lines like Westmoreland, Pennma-rydel, Moore County reflect the sum (and likely the substance) of the stock a Hunt will get when drafting a hound from such lines. The names tell about generations of predictable bone, height, heart, foot and colour that comes from the County labelled. Sometimes the hounds come from a Hunt famous more for the peculiar aspect of its Master, es pecially when the master is truly an houndsman. The Duke of Beaufort was one such master, Ben Hardaway is another. Any mention of hunting and hounds which fails to talk of terriers has failed indeed. So, rather than consign these comments to such a fate let us address Jack Russells. A Jack Russell terrier is an amazing animal. It is a breed that has never been registered because its owners have for generations wanted it saved from the indigni ties of dog shows, Fifi pooch parlours and pug pedicures. If the Jack Russells we’ve known are any guide, their fears are completely unfounded. Our Lord God made terriers
(through the ages of selective breeding) to be feisty, fearless and forever, hunters. They come in varieties long-legged, short-legged, smooth coated, rough coated and many degrees in between. They all come with strong hearts and loyalties. They were first brought to the field, so the story goes, by Jack Russell, MFH, himself a part of the legends of Hunting priests, who had a wee dog stuck in the pouch pocket of his pink coat. When the fox went to ground and no hound from the pack could be induced to enter the hole and face the snarls and incisors of the cowered animal, Jack Russell dropped his little namesake to the ground and into the lair the little dog charged. The fox never had a chance. One can envisage the rumours of the redoubtable Jack Russells spreading throughout the Hunt Country and that the very sight of a Jack Russell from the pocket of a foxhunter would drop the otherwise smug, secure fox to his knees in surrender and supplication. He started out to tell something about hunting,
some more or less universal verities about the sport, and clearly one is the primary place of the hound and the pack. Whether the Hunt is “live” or one which, because of tight or tangled country, follows a drag, the beauty and wonder of a well-disciplined pack running hard, scenting close, losing and then finding the line again with a glee that sounds like laughter in their bays and barks, is the foundation and crowning steeple on the structure of the Hunt. The joy of hound work is that it can be seen, heard, felt and lived whether one hunts up and flies the fences or not. Those clever happy supporters who by jeep, wagon, hack on foot, “hill top” and follow the fun at their own pleasant pace, see and feel and experience the joy of the hound work very often
and fatigue when you face a long, wet walk home, when the pack has run riot and is somewhere miles away, when your favourite, probably only, hunter feels like he’s coming up lame; these are some moments that only those riding can know. Then, with those days and hours and seasons of such moments come the special memories. Memories like the days, long ago, when the Huntsman of Middleton Place let the hounds run riot (chase deer, in this case) just to see if the Irregulars could keep up with them across that heavy country; the memory of a certain MFH who blissfully walked his horse into a waterfilled ditch and disappeared underwater, smile frozen to his face, when his horse
being asked to ride up with the Masters; memories of having a good clean jump and then a good clean day on a new horse; memories of the moments of personal and corporate sadness and the loss of horse or hound; memories of the amorphous mass of moments that have made up the days of small triumphs and tragedies in the seasons of hunting: These are reserved for those who ride, and all the more so for those who ride through trepidations and fears to learn that the devil can take the hindmost or, at least, rob him of real sport. These are some of the things about foxhunting that have kept it going, even when
as much as those ahorsed. There are, however, some moments and memories that are reserved solely for those who ride horses to hounds: moments of shared thrills when the runs are fast and the fences seem formidable; seemingly endless moments while waiting for the whips to gather in wayward hounds and for the Huntsman to blow, “All in”; moments of anticipation on a bright crisp morning and moments of disappointment
decided to go for a cooling-off roll; memories of a certain whipper-in, full of bravado as always, who decided to take a pasture fence with one stride, horse, horseman and all did a complete somersault downhill on the other side got up, on and rode off much in hopes that the crowd standing around had somehow not noticed; memories of away hunts in new country when hunting can go from wood to pasture, from swollen creeks to snow-lined farm fields, memories of
highways and suburbs shrink the Country and when the sounds of jets and modern life make it almost impossible to hear the horn of the huntsman or the cry of his hounds. These are some of the things that make it great sport, rather than a pastime. It is moments of triumph and trial blended inseparably I the memories of the foxhunter. St. Paul told the Romans, and us, that the trials build experience and endurance and that builds character from which comes the joy of living through it all. So, I suppose, it is with a life well and truly lived. If you can, try to reflect on this wisdom when you face that new fence line at Middleton or the five foot Irish stonewall on a horse that you’ve never before ridden. May St. Hubert intercede for your well being, my friend. Amen. Middleton Place Hounds has begun its preparations for the Hunting season. The pack goes out each week for exercise and training. Call the Huntsman, Kurt Krucke, for hours, days and protocol; 843-556-7401. Panelling parties are held every weekend. The opening meet is held by longstanding tradition on Thanksgiving holiday weekend. It is a grand affair with the Blessing of the Hounds, stirrup cups, boots, breeches and pink coats everywhere and a fine Hunt party later. Lest you feel left out of all this, the Hunt, the parties, the
fun are open to all members whether a rider, tailgater or in between. Call the honourable hunt secretary, Martha Lott, for information and an application. [d]
“Come quickly. Have found heaven.” Alfred Hutty arrived in Charleston in 1919 and cabled his wife in New York
HUTTY The Charleston Etchings by Julian V. Brandt III
One afternoon in 1919 Selma Tharin, later Selma Tharin Dotterer, then a young aspiring artist, sat at the Gibbes Art Gallery rendering a classical plaster figure in charcoal. Selma was taking private instruction from Mrs. LaBruce, concentrating on drawing so that she might qualify for an art class to be given at the Gibbes at the beginning of the new year by the talented artist, Alfred Hutty. “At that moment, in walked Alfred Hutty,” Mrs. Dotterer recalled. Hutty, then 42, cut a striking figure. Tall and lean, with a mustache and a shock of wavy hair, he was a man easily recognized wherever he went. “He asked if I enjoyed drawing. I said that I did. ‘Why are you holding your charcoal that way?’ he asked. And then, taking it from my hand, he said, ‘Here, like this,’ and began to draw on my sketch. Genius sprang from the paper. Despite that genius, Alfred Hutty was a very gentle, modest person. He took no credit for his talent. He would say it was a
Jenkins Band (No. 2) 1933 10 1/2 x 9 3/4 inches
Potato Pickers in the Low Country 1935 10 x 8 5/8 inches
Flower Vendors at Charleston Market undated 14 1/4 x 15 3/4 inches gift from a source greater than himself. When it came to his own work, Alfred was a perfectionist.” “When it came to his students, he was enthusiastic - especially when he met someone in whom he recognized talent. He loved helping his students. One of the great things he did for me was to make me not only see but also perceive what I was drawing. He was a very generous man, with a sense of humor, and he liked people.” From that first encounter at the Gibbes, the two became lifelong friends. Alfred Hutty was born September 16, 1877 in Grand Haven Michigan. He began his artist’s career in 1892
when he won a scholarship to the St. Louis School of Fine Arts. Ten years later, after working in a Kansas City stained glass studio, he married Bess Crafton and moved to New York to work at the Tiffany Glass Studios and study art at the New York Art Students League. He and Bess bought a farm, Broadview, in Woodstock. Then, after World War I, Hutty accepted a teaching position at the Gibbes Art Gallery in Charleston. Although Hutty’s reputation as an artist in many mediums was well-established by the time he moved to Charleston, his etching career began late in his life, here in this city.
According to Anna Onufer, contemporary Charleston artist and former Hutty estate representative, “The term ‘etching’ is sometimes used as a generic word for the process of individual printmaking. A true etching is done with acid. The preferred method of the Charleston etchers of the period was a process called dry point in which the artist did a reverse tracing of the sketch on a zinc or copper plate, then, using a metal stylus or nib to cut out the lines, created dark and light lines to give texture and patterns to the work.” Ms. Onufer first encountered Hutty’s work in the late 1970s while earning an art degree at the College of Charleston and pursuing a course in print making
draftsman of that era. His work was successful not only because it showed his passion for life but also because he knew instinctively which medium should be used to capture an image - whether oil, water color, pencil, charcoal or etching. Hutty had a great command of etching technique; one can see that he was very thorough and demanding of himself; he inked his own plates and hand pressed an edition of 25 to 75 prints from each etching.” When asked why people collect Hutty’s work, Ms. Onufer replied, “He captured Charleston at a very important time in its cultural history. One can tell he had a great love for the city and for her people. If you look at his black subjects, you
at the University of London. After studying his work for years, she observes that “he was probably the best
can feel his compassion, particularly in his renderings of black women. He captured them as the people they
really were, bringing to life their strengths as well as the small things that brought them joy.” Mrs. Dotterer concurs: “Alfred loved people. Most of he loved Charleston, her antiquity and uniqueness.” According to his granddaughter, Patience H. Kotorman: “ Hutty adopted the snail as his etching signature because he thought it was a slow process, started late in life.” The only nude study done by Hutty was a very delegate line drawing of a girl 16-17 titled ‘Youth’. Ms. Onufer recalled that “one day in the mid 1980s, a woman in her 60s from off came in to the gallery to see the Hutty etchings. She picked up ‘Youth’, turned a little pink, blushed and said, that was me, I used to pose for Mr. Hutty when I was a girl. “ In his book, Alfred Hutty and the Charleston
Stairway 46 Tradd Street 1941 16 1/4 x 13 inches
Renaissance, Boyd Saunders writes that Hutty’s first etching was “In Bedon’s Alley”, published in 1921, followed by “The Portico of St. Michaels,” which won an award. However, an inspection of Hutty’s private estate revealed that the original pencil drawing of “The Portico of St. Michaels” is dated 1920 and is placed as number 1 in the private estate with a note on the etching by his wife labeling it “Alfred Hutty’s first ever etching”. By 1922, Hutty’s etchings were on exhibit at the Corcoran Art Gallery in Washington, D.C. Hutty’s passions were art and Charleston. His contribution to Charleston and the Renaissance was invaluable, both in the visual and in the performing arts. A visual arts group that benefited most from his influence was the Charleston Etchers Club (1923-1933), among whose original members were Alice Ravenel Huger Smith, John Bennett, Selma Tharin Dotterer, Robert Whitelaw and Elizabeth O’Neill Verner. The etchings of these artist and others he influenced have become the gold standard of the Charleston Renaissance. Mrs. Dotterer recalled, “The formation of the club was the beginning of many efforts in Charleston. I liked doing dry point because it was a direct expression of the artist on the zinc or copper plate.” Selma’s first etching was a ballerina putting on her slippers to dance on zinc plate. Torn between drawing and dance, Selma went on to New York in the mid 20s where she danced with the Zigfield Follies and appeared in “Show Girl” with music by George Gershwin. On her return to Charleston she said “I was able to find here what I could find no where else.” Later she became Society Editor of the Evening Post working on occasion with Josephine Pinckney and Iola Willis. Hutty served for many years as a board member, and as president of the Footlight Players from 1941-42. Hutty’s contributions to the Charleston theater is still evident in the large mural extracted by Emmett Robinson and Alfred Hutty, which still hangs in the workshop at 20 Queen Street. Emmett Robinson, the long-time director and his wife, Patricia, were two of Hutty’s closest friends.
Just after Hutty’s death on June 27, 1954, Emmett Robinson summarized the artist’s theatrical contribution in “Footnotes,” the Footlight Players Newsletter. “One afternoon last spring, when we were painting the Charleston set, “Hiddydoddy,” Alfred Hutty stopped by the theater at the perfect moment. We were stumped on the question of painting old bricks - how much red, where the cement should show through, which color should be used as a highlight. Alfred rolled up his sleeves, gathered a few buckets of paint and some brushes and, in less than an
Alfred if we might buy his house should he decide to sell. He said he would let us know, and he did. Our arrangement was that he and Bess could then stay in the studio as long as they were able.” Mrs. Stoney recalled, “Mr. Hutty loved to help people and was always doing something.” Shortly after Hutty died, Bess donated 110 of her husband’s etchings to the Gibbes Museum of Art - the start of the museum’s permanent Hutty collection. Their son, Warren, took the rest of Hutty’s estate to Woodstock, where it was rediscovered in the ‘70s by Leo Manske, a College of Charleston
hour, recreated an old wall, mellowed, weathered, rich with sunlight. We thought, at the time, of the countless sets to which he had given that magical finishing touch. It was the last of many such afternoons, stretching back across the years. Alfred fervently believed in community theater and in the theatrical tradition the Footlight Players hoped to establish in Charleston. That belief is still very real today. We, perhaps, are more conscious of it now than ever before and also of our responsibility to the town and to the memory of a very great gentleman.” Adela Stoney and her late husband Randall concurred in considering Hutty a true gentleman. The Stoneys and the Huttys were neighbors on Tradd Street in the 1940s. “Because the Hutty’s was the larger of the two family houses and the we needed more space, Randall asked
print-making professor, and his wife, Celia. As a result of Manske’s encouragement, the late Raymond Holsclaw first represented the remaining Hutty works at Carolina Prints. Today, Alfred Hutty’s Charleston is feted in collections across America. Elizabeth O’Neill Verner, Hutty’s student and the most prolific of the Renaissance etchers continued her art until her death in 1979. Selma Dotterer, the last of the Charleston Renaissance Ladies left this transitory life in August of 2001 and with her passing the Charleston Renaissance is now history. [d] Julian V. Brandt III, is a native Charlestonian, contributing writer for various publications and past president of the Footlight Players. Nov. 2011
Left: Flower Woman undated 6 1⁄2 x 4 3/8 inches. This page: Flower Vendor 1948 5 1/8 x 3 7/8 inches
Left to right, clockwise: Cabbage Row 1928 11 3/8 x 15 1/8 inches; Orange Street 1921 8 3/4 x 7 inches; Monday Morning in Charleston 1922 9 x 11 1/2 inches; Discussion Group in Carolina 1946 13 1/4 x 17 inches; Vegetables 1931 12 3/4 x 14 1/2 inches.
Top left: Huttyâ€™s studio on Tradd Street as he saw it in 1933; Left: The studio today with almost no changes to its beautiful interior. The large northern light window and the skylight and the oversized fireplace all as they were when he was working there. Photos of images by Bette Walker. Above: Studio in the Garden 1954 17 1/2 x 13 1/2 inches
Huguenot Church, Charleston, South Carolina 1925 9 1/8 x 11 5/8 inches Right: Ashley Hall 1931 15 1/4 x 10 inches
Sword Gate 1935 12 1/4 x 13 7/8 inches
Pounding Rice 1937 12 7/8 x 13 inches
Shrimp Caster undated 10 3/4 x 15 1/8 inches
www.gibbesmuseum.org/ 135 Meeting Street, Chareston, SC 29401 Hours: 10am - to 5pm Tuesday - Saturday; 1pm - 5pm Sunday; Closed Mondays and national holidays Admission: $9 for Adults, $7 for Seniors, Students and Military, $5 Children ages 6 – 12 * Admission is free for members and children under 6
Alfred Hutty Self Portrait pencil 7 5/8” x 9 3/4” SC State Museum 65
Charleston, South Carolina Welcomes
BOEING South Carolina FUTUREVILLE â€œNow I would say that people want to ride in airplanes more and more each day -- and I shall go so far as to say they will someday regard airplane travel to be as commonplace and incidental as train travel... We are trustees of a veritable revolution that is taking place once more in the economic, social, and political fabric with the advent of this new speed medium.â€?
-William E. Boeing, 1929
On March 3, 1919, William Boeing (right) and pilot Eddie Hubbard performed the first U.S. international airmail flight in this Boeing Model C, a modified World War I trainer they flew from Vancouver, British Columbia, Canada, to Seattle.
William Edward Boeing
In 1939, James Smith
Donald Wills Douglas,
founded one of the great
McDonnell founded McDonnell
founder of the Douglas Aircraft
dynasties of commercial
Aircraft in St. Louis -- and
Company, was one of the 20th
aviation -- transforming the
proceeded to build a series
century’s greatest figures
Pacific Northwest into a major
of the finest jet fighters in
in commercial aviation. His
aeronautical center. When he
the world, with names like
imagination was initially stirred
arrived in Seattle in the first
“Phantom,” “Voodoo,” and
when -- at the age of sixteen
decade of the new century,
“Banshee.” Perhaps more
-- he witnessed the Wright
however, he was armed with
than any aerospace leader of
Brothers’ U.S. Army flight
little more than the optimism of
his generation, “Mr. Mac”
demonstration at Fort Myer,
his generation and the idea that
imprinted his company with the
“it was time to do something.”
force of his character, imbuing his teammates with his own drive for excellence.
Boeing was born in Detroit, Michigan to a wealthy German mining engineer named Wilhelm Böing who had made a fortune developing large low-grade penuckle taconite iron ore deposits and who had a sideline as a timber merchant. Anglicizing his name to “William” after returning from being educated in Switzerland in 1900 to attend Yale, William Boeing left Yale in 1903 to go into the lumber side of the business. He bought extensive timberlands around Grays Harbor on the Pacific side of the Olympic Peninsula. While president of Greenwood Timber Company, Boeing, who had experimented with boat design, traveled to Seattle, where, during the Alaska-Yukon-Pacific Exposition in 1909, he saw a manned flying machine for the first time and became fascinated with aircraft. In 1921 William Boeing married Bertha Marie, the daughter of Howard Cranston Potter, a descendant of merchant bankers Alexander Brown of Baltimore. Bertha Potter Paschall had previously been married to Nathaniel Paschall, a real estate broker and by that marriage had two sons, Nathaniel Paschall Jr. and Cranston Paschall. These two sons became Boeing’s stepsons and the couple had a son of their own, William E. Boeing Jr. The stepsons went into aviation manufacturing as a career. Nat Paschall was a sales
manager for Douglas Aircraft and then McDonnell Douglas. William E. Boeing Jr. became a noted private pilot and industrial real estate developer. In 1916, Boeing went into business with George Westervelt as B&W and founded the Pacific Aero Products Co. When America entered the WW I in April 1917, Boeing changed the name of Pacific Aero Products Co. to Boeing Airplane Company and obtained orders from the US Navy for 50 planes. At the end of the war, Boeing began to concentrate on commercial aircraft, secured contracts to supply airmail service and built a successful airmail operation. In 1934, the US government accused William Boeing of monopolistic practices. The Air Mail Act ordered him to break up his company into three separate entities: United Aircraft Corporation, Boeing Airplane Company, and United Airlines. Boeing retired from the aircraft industry in 1934. He then spent the remainder of his years in property development and thoroughbred horse breeding. His thoroughbred farm northeast of Seattle was called Aldarra. William Boeing died on September 28, 1956, at the age of 74, just three days before his 75th birthday. He was pronounced dead on arrival at the Seattle Yacht Club, having had a heart attack aboard his yacht. g
Portrait by early-mid 20th century painter Joseph Allworthy
87 7s, carry 7 nverted 74 d. rl o nd the w parts arou
hters, co argo Freig
Responding to the overwhelming desire for a high tech greener airplane Boeing Commercial Airplanes’ new airplane is the Boeing 787 Dreamliner. The Dreamliner is a super-efficient airplane and it is the future of aviation. An international team of top aerospace companies is developing the airplane. The 787 program has signed on 43 of the world’s most capable top-tier supplier partners and together finalized the airplane’s configuration in September 2005. The suppliers are connected virtually at 135 sites around the world. Eleven partners from around the world completed facility construction for a total of 3 million additional square feet to create their major structures and bring the next new airplane to market. Enter Charleston. Aft and midbody sections of the 787 have been produced in South Carolina since 2006, and the new 787 Final Assembly & Delivery facility in North Charleston will be complete and ready for action in July of 2011 to roll out their first airplane in 2012. The 787-8 Dreamliner will carry 210 – 250 passengers on routes of 7,650 to 8,200 nautical miles while the 787-9 Dreamliner will carry 250 – 290 passengers on routes of 8,000 to 8,500 nautical miles. The airplane will use 20 percent less fuel for comparable missions than today’s similarly sized airplane. This means the plane will provide airlines with unmatched fuel efficiency, resulting in exceptional environmental performance. It will also travel at speeds similar to today’s fastest wide bodies, Mach 0.85. The key to this exceptional performance is a suite of new technologies being developed by Boeing and its international technology development team. A s much as 50 percent of the primary structure – including the fuselage and wing – on the 787 will be made of composite materials. General Electric and Rolls-Royce are making the engines. It is expected that advances in engine technology will contribute as much as eight percent of the increased efficiency of the new airplane, representing a nearly two-generation jump in technology for the middle of the market. Below: The Boeing Company today revealed the final exterior look of Boeing Commercial Airplanes The interior designers for the Boeing 787 Dreamliner understand fully that first impressions can be everlasting. Therefore, they’ve designed a larger, more
newest airplane, the 787 Dreamliner. The airplanes unique shape will be both instantly recognizable
open entryway with sweeping arches that immediately direct the eye upward.
and aerodynamically efficient.
Boeing announced last May that it had chosen South Carolina as the location for fabrication and assembly of airplane interior parts to supply the 787 Dreamliner final assembly and delivery site currently under construction in North Charleston, S.Cv. The new facility, Boeing Fabrication Interiors South Carolina, will be located near the North Charleston final assembly and delivery site. “By expanding Boeing’s footprint in South Carolina, we enhance our existing foundation with Boeing Charleston and further contribute to the growth
of aerospace in the region,” said Ray Conner, vice president and general manager, Supply Chain Management and Operations, Boeing Commercial Airplanes. h in exceptional environmental performance. It will also travel at speeds similar to today’s fastest wide bodies, Mach 0.85. The key to this exceptional performance is a suite of new technologies being developed by Boeing and its international technology development team. A s much as 50 percent of the primary structure – including the
fuselage and wing – on the 787 will be made of composite materials. General Electric and Rolls-Royce are making the engines. It is expected that advances in engine technology will contribute as much as eight percent of the increased efficiency of the new airplane, representing a nearly twogeneration jump in technology for the middle of the market. Boeing announced last May that it had chosen South Carolina as the location for fabrication and assembly of airplane interior parts to supply the 787 Dreamliner final assembly and delivery site currently under construction in North Charleston, S.Cv.
The new facility, Boeing Fabrication Interiors South Carolina, will be located near the North Charleston final assembly and delivery site.“By expanding Boeing’s footprint in South Carolina, we enhance our existing foundation with Boeing Charleston and further contribute to the growth of aerospace in the region,” said Ray Conner, vice president and general manager, Supply Chain Management and Operations, Boeing Commercial Airplanes. [d]
The Lovely Road to Wellness The Spas of Charleston
“Tension is who you think you should be. Relaxation is who you are.” – Chinese Proverb “The greatest wealth is health.” – Virgil
ESSENTIALS OF STYLE
387 King St, Charleston, SC 29403 843.577.2444 spaadagio.com
Your doorway to new possibilities.
Seeking Indigo 445 King St, Charleston, SC 29403 843.725.0217
Harvest Dinner by
John Sutcliffe Photography by
107 people are seated at one long, beautiful table that runs the length of the orchard. But this exquisite candle-lit moment was two days in the making. One of our hogs is split and dressed, the massa has been molded into tamales around young lamb, trays of charcuterie lie dense and seasoned, the succulent, white flesh of freshly-picked, peaches is being pressed into chutney, black plums are pared open to be grilled on the sizzling pork. Summer squash for the soup, red onions sliced thin and pickled, new potatoes scrubbed not peeled. A table of preserved lemons, figs, candies nuts, shimmering olive oil, plump olives, pickled cucumbers and ripe chevre, might have graced Caesar’s Table. Young Cinsault drawn from the barrel, brilliant and garnet in a plump carboy. The flat bed of an old Dodge vibrant with flowers. A fence line hung with grapes, delicately colored gourds and mile long vines. And still a day away. Monday, the day we have worked towards. A pale sky, a hint of Autumn, brushed lightly with Cirrus that frames
the Sleeping Ute Mountain. Horses, lots of them, hanging on the fence-line to watch our indefinable exertions. The tables have arrived, sparkling linen, chairs, all as white as fresh drawn milk. The chefs glide confidently around, a hog spits on the grill, long baguettes appear in tall brown bags. It’s later. “ Two hours”, I hear myself yell. But it is all moving relentlessly, elegantly forward. The endless table is replete with delicate bunches of flowers, votive candles, snakes of vines, colorful, sculpted squash. The fleshy pop of corks as the red wines are pulled, Field Blend... the grapes the year gave us, Syrah loaded with chocolate and as dark as night, Cinsault garnet, brilliant, young and bright. Chardonnay lying somnolent in its’ bed of ice. “Need to change.” All is ready, the bower on the Portales hung with dark ripe grapes, peaches, pears, apples and lemons bobbing for a second day in a barrel of Rose’ Sangria. The staff appear, pristine like Novice Nuns, starched and crisp, hair restrained in soft romantic waves. The chefs
immaculate like TV surgeons, handsome and confident. “Welcome, it’s lovely to have you here.” I hear myself saying. People clap, some have attended every dinner we have given. Some are quiet in the still beauty of it all. “Welcome to Sutcliffe Vineyards and Brix Restaurant’s Harvest Dinner”. Suddenly it feels so effortless, so polished.. and it
is. It is because of the thought, imagination and creativity that it has required. The chefs David and Stephen, Paul the owner of Brix, Joe Buckel the wine maker, Jesus Castillo who grows everything we need and Nor who gently ensures this talented disparate forces work as one. It is always worth it, absolutely always worth it. Let the show begin. [d]
photos by Eric Bradshw ~ Bette Walker
“The sea, the great unifier, is man’s only hope. Now, as never before, the old phrase has a literal meaning: we are all in the same boat.” Jacques Yves Cousteau
Gretta Kruesi is a US Kiteboarding team rider and ambassador for Naish, a leading brand in kiteboarding, windsurfing and stand-up paddleboarding industries. She holds the US kiteboarding distance record at 100 miles.
Tommy Baker paddle boarding off of Sullivan’s Island. Gretta Kruesi was Baker’s instructor for the stand up sport. It is a challenging exercise and puts you in the beautiful seascape of upper Sullivan’s. Read more in Water Journals at http://charlestonthemanual.com/journals/water.html
Bamboo Paddle Boards Decks of bamboo surfboards are up to 4 layers of bamboo/epoxy laminate in hi-stress areas over a 60 psi medium density foam. Bamboo decks tend to not dent from normal use unlike glass boards
Pricing is generally in the $125 per foot of length for bamboo. Wood veneer boards are on the $150 to $200 per foot range.
â€œDo one thing each day that scares you.
Facing fears, trying new things and pushing
limits beyond what you can already do is the only way to grow.â€?
Gretta Kruesi has chosen a path of dreams and it appears that she is going to achieve them. She did a
Charleston visiting family and friends, kitimng the barrier islands of South Carolina.
couple of things in 2010 that gave her an edge to get there. She joined in on the 100 mile kite run from Charleston to Myrtle Beach. From that she then went to the BVI Kite Jam which was five days of inter-island
On her site she says it best “I’m a big believer in doing the things you are passionate about and the things
events which included flat water freestyle, waves, sliders and racing. Riders from around the globe gathered
that you love. I used to feel like I was spreading myself too thin because I happen to be passionate about a
and Richard Branson was the key sponsor. His Necker Island was on the course and it appears Branson has
lot of things. For me its my painting, living a healthy lifestyle, surfing, kiteboarding, and doing service driven
taken to the sport pretty well himself.
work. I want to leave this world a better place than when I got here. The one unifying thread for me is the ocean.”
Gretta is a prime example of a healthy H2O. Without it she does not have her dreams nor a lifestyle that goes with it. An avid conservationist she worked at the Coastal Conservation League when she was living in Charleston. She has taken her latest residence in Los Angeles and ply’s the Pacific when she is not in
Visit her blog My Ocean Life at: www.grettakruesi.com/Gretta_Kruesi/My_Blog/My_Blog.html
ProtectingOceans,WavesandBeachessince1984 Charleston chapter
100 Mile Wave
This film documents the journey of 8 kiteboarders who harness the power of their kites to travel 100 miles in 2 days on surfboards, kiteboards, and stand up paddle boards. Winner of the best documentary in the 2010 Charleston Film festival. We had a lot of fun shooting this and canâ€™t wait to do another one faster over a greater distance.
We Separate Church and State Map
Want a fabulous life? Follow these three simple steps. Be born beautiful. Grow up near the beach. Love to kiteboard. That’s all Gretta Kreusi ever had to do, and now she’s travelling around the world making the rest of us jealous. Okay, okay. Of course Kreusi didn’t choose her superior genetic makeup or to be raised in idyllic Charleston, South Carolina. That’s just dumb luck. But kicking-ass at kite boarding, well, that’s something you have to earn. And Kreusi learned the sport just like everyone else: the hard way. Think of kiteboarding (also known as kitesurfing) this way. First, you need to learn to fly a huge kite
time to strap on your helmet (it’s better not to think too much about why this can come in handy). And finally, double check to make sure you have your safety knife. A safety knife? Yes, a safety knife. Take a moment to think of all the things that can go wrong when you tether your body to large and dangerous sporting equipment that is propelled by both wind and sea. That kite can drag you back on land and suddenly you’re knocking out beachcombers with the speed and force of a linebacker. Or, the wind could stop and the next thing you know you’re sinking, caught out at sea in a spider web of chords. No worries, just use the safety knife to cut yourself free as you desperately try
(which, whether you like it are not, is harnessed to your body). Next, strap your feet into the surfboard. Now it’s
to remember if you’re health insurance is up to date. m Gervais Street Hagerty
Our friend Liz Clark, who is a Patagonia Ambassador will be sending us her ship’s log from the far reaches of the blue planet. She is a wonderful spirit and an inspiration to us all. We look forward to her adventures.
I learned to sail on a little red dinghy. Just surf trips during summers and school breaks to About three years later, at age ten, I completed a Barbados, Costa Rica, El Salvador, Guatemala, Liz Clark Hawaii, Mexico, Nicaragua, and while studying 5,000 mile, six month cruise in Mexico with my family on our sailboat. On that journey, I in Australia. experienced a different culture, the freedom and beauty of sea travel, and new worlds beyond my hometown reality. I As I finished up my degree in Environmental Studies at also saw pollution. Trash marred the radical natural beauty UCSB, I remember feeling frustrated by the direction the of Mexico, and those dramatic images triggered my early world seemed headed. Our increasing distance from the environmental awareness. At that young age, two things natural world and failure as a country to seek and promote became very clear: I wanted to protect the world from environmentally sustainable living left me disappointed. human destruction and, one day, I wanted to sail around it. I clung to my dream as a way out. My surfing obsession further fueled this fire. The pressures of increasing crowds At fifteen, my love of the ocean and my natural athletic and urban pollution made the idea of a free life at sea with inclination led me to try surfing. Soon it was all I wanted access to remote waves seem even more appealing. After to do. Determined to excel at the sport, I spent all my free graduation, I crewed on different boats to gain experience, time in the water. I eventually competed for the University and then before I was even sure I wanted it, I had the chance of California, Santa Barbara surf team and also in private to become captain of my own boat. I climbed aboard. contests. My four year competitive career culminated in a win at the National Scholastic Surfing Association Through this fortunate serendipity, my intense Nationals, making me the 2002 College Women’s National determination, and the generosity and advice of Champion. Although I enjoyed pushing my level of surfing innumerable people, Swell was converted into a sea worthy through competition, it wasn’t really where my heart was. vessel. I spent two years overhauling and learning about To me, surfing was less about structured competition and each of my boat’s vital systems. Only having sailed the boat more about adventure, nature, and self-discovery. I was full a handful of times during this busy preparation, I honestly of bigger questions that needed answers. I began taking didn’t know if I could succeed in this demanding and
taxing leadership role. The unknown terrified me. But what I perceived as my alternative– not going– seemed unthinkable. So in October of 2005, I pointed Swell’s bow south. As a surfer and environmentalist enchanted by foreign waves and cultures, I left California aboard my 40foot sailboat in early 2006. The world has since shown me more amazing people, waves, adventures, natural beauty, personal insights, and alternative ways to living than I ever dreamed possible. Swell is my floating home and transportation. I travel at a pace not much faster than you can run. The weather and tides dictate my days. This isn’t just a surf trip, it’s a lifestyle. I’ve reduced my daily impact on the earth. I live closer to nature. Solar and wind power provide my electricity. I use less, need less, and want less; yet have never felt more fulfilled. At times the work seems endless and the uncertainties too daunting, yet without these challenges, the good times can never be as sweet. That’s the give and take of adventure. When I discover great waves, I keep the location secret. That way, only the truly inspired adventurers can still find places without surf camps or crowds and experience the sensation of venturing into the unknown and be rewarded. For me, that feeling is as precious as empty
waves. The voyage evolves as I continue to learn. I spent the first year and a half gaining confidence as a captain, with different friends as crew, while traveling down the western coast of Mexico and Central America. After announcing that I intended to sail to the South Pacific alone, my mother volunteered to accompany me: an offer I gladly accepted. We spent 22 unforgettable days sailing across the largest expanse of open ocean on the planet. With the mysteries of blue water sailing behind me, I spent the next year exploring French Polynesia and eastern Kiribati mostly on my own. I take more time in each place now, after realizing that if I don’t, I end up just fixing the boat in every port and missing out on what I sailed all this way to discover. I now prefer to travel alone, indulging in the freedom of solitude and making choices based on weather and swell forecasts rather than itineraries. And so I continue west around the globe with no real plan, only the intention to positively impact the world, better myself, and cherish each glorious, bizarre, painful, and unbelievable experience that makes simply living on this planet the unavoidable adventure that it is. [d]
JAKE MOSS MAKING GREEN PRIORITIES BY LIZ CLARK
I crossed paths with old friend and custom surfboard shaper, Jake Moss, while bouncing around San Diego.
At that, he stepped with all of his weight directly on the center of the board…
We exchanging greetings–small talk over a basket of raw figs–and then suddenly Jake’s eyes lit up. “I’ll be right back,” he said, disappearing quickly out of Seth and Helen’s house where we’d spontaneously rendezvoused… He returned a few minutes later with a lovely key-lime green twin-fin under his arm. “Check it out, this board is made out of about 85% recycled or plant-based renewable materials.” He said, passing it over to me. I turned the board in my hands, admiring the lovely bamboo fins while he continued to tell me about it… “The epoxy blank is made from 100% recycled and reconstituted packing scraps from department stores. NO CFC’s are released during the building process and 80% less VOC’s are produced compared to regular polyester board production. The resin is a zero VOC, 75% plant-based epoxy (made from pine sap and rapid-renewable, plant-based oils which are a biofuel byproduct). And the fins are hand-made from bamboo and reinforced with natural fibers…”I was blown away…He had devised this all on his own and out of pocket…Listening to him talk about it, it was easy to tell he’s not only an craftsman and artist, but a passionate environmental scientist, too. This was by far the ‘greenest’ surfboard I had ever heard of?! He then set the board upside-down on the polished cement floor and said, “and they’ve got 3 times the strength and flex of regular polyester boards.”
I cringed. But the board just flexed under his weight. The only thing that cracked was a little smile on Jake’s face. He stepped off, “They also the reduce waste and energy consumed in extracting, transporting, and refining new materials…” He’d done his homework! I was so stoked on Jake’s ambitions, that we met up a few weeks later to talk more about his ‘greening up’ his shaping room. That led into other topics I’d been mulling over during my time in California: Easy things that we can do in daily urban life to make it healthier, happier, and more eco-friendly? Here’s what Jake and I came up with: 1. Make good consumer choices: try to buy local, natural products, made by eco/socially-responsible companies, try to buy products without excess plastic packaging (check out the Plastic Pollution Coalition’s addition to the 3 R’s!), and/or packaging that is recyclable. If you eat meat, choose sustainable seafood and/or organically and free-range meats and poultry. Look for fair trade products! The slightly higher costs of these products are offset by their good effects on you and the Earth! 2. Grow a garden or plant edible landscaping! Jake’s got a bustling garden box in his backyard in Solana Beach. And if you don’t have the space or time for that…then go enjoy your local farmer’s market! You can get lo-
cally grown products that taste WAY better than ‘storebought’ ones. It feels good to know where your fruit and veggies came from and to get to know the growers. The positive human interaction has value too! 3. Eat healthier and Don’t waste food! Share entrees with your friends, cook at home, and try to be conscious of what you’re putting in your mouth! 4. Bring your own shopping bags and ‘to go’ cups and containers! I was absolutely horrified by the amount of waste that Americans produce daily and think NOTHING of…plastic shopping bags are ridiculous! We’re going to be buried alive in disposable coffee cups and ‘to go’ food containers! Plus they take energy and resources to make and dispose of…Bring your own and feel good about it! 5. Walk/ride a bike/skate/etc whenever possible! It’s not only good for the environment, but it’s good for your body and mind and to increase your connection to your community! A boring drive to the market could be transformed into a joy ride with fresh air on your face as you glide past traffic lines and don’t deal with parking spaces! Integrate exercise into daily routines rather than get in the car and DRIVE to the gym!? 6. Get involved in your community! This is a venue small enough that you CAN have a significant impact. Jake has plans to get involved in a local community center in Solana Beach, where eco-minded people can get together and share information, visions, ideas, interests, offer classes, etc. Communities are a place to give and receive inspi-
ration, ideas, and positive energy! The good guys gotta stick together! 7. Stop buying fancy household cleaning products! My mom recently switched to using only vinegar, ammonia, baking soda, and occaaaaaaaaaaasionally bleach to clean the house. It’s crazy how many toxic chemicals those products have in them and how we’ve been brainwashed to think that they clean better than simple, natural cleaning agents. It’s less expensive AND less harmful to you and the environment, and they work great! [d]
Stock Pond Oil on Canvas 38”x42”
William McCullough was born on a farm close to Kingstree, South Carolina. The farm is a Kings Grant. He lives there today with his wife Kathy and his teenage son Killian. Though he often paints all over the southeast, most of the paintings these days come from the farm and his studio there. “One can learn about a lot of things simply by painting - how and why they work. No other endeavor allows one to go out and spend ten to twelve hours looking at a clump of trees, or that spread of sky. It is pure visual information.” The McCulloughs lived in Charleston on Rutledge Avenue for many years. Kingstree is only an hour away from
Charleston and he often paints around the city. He has two daughters who live there. “Thus while the so-called postmodernist heirs continue to pursue novelty, realists such as William McCullough would prefer to remind us of the extraordinary beauty of the light on the side of a house. In a time when the survival of this lovely little blue planet has come into question, this is not an insignificant thing”, writes Bradford R. Collins, PhD, Professor of Art History at the University of South Carolina. McCullough has never wavered from his “older,realistic traditions”, never. Neither has he given up his connection to his
Bogard Street Courtyard in Winter 36”x34”
Cannon Street Oil on Canvas
Venus Rising Oil on Canvas
Southern Heritage. A reverence for sense of place has
The Ogden Collection of Southern Art in New Orleans.
allowed this painter to depict the light and natural essence Although his trade has taken him to other locales,
of a locale whether McCullough paints a tryptic of the collectors and academics recognize his ability to divine city center for The Greenville County Art Museum’s “25
and depict the true heart and essence of his subject. [d] Years of Greenville”, or depicts the interior of a cracker
cottage as in his work, “Napoleon in The New World” for
Study of Corner of Rutledge and Bogard Oil on Canvas
The Porch Oil on Panel 42”x31”
Looking up Cannon Oil on Panel 19”x22”
Top: Spring and Coming Oil on Canvas 42”x50” collection,Greenville County Museum Bottom: Cannon Street Studio 32”x34”
Shipyard on the Wando
Mexican Saddle Oil on Canvas 16”x20”
118 East Kingston Avenue, Charlotte, NC 28203 Contact us at email@example.com
Boat House Oil on Linen 42”x44”
Top: Buildings on Upper King Pastel on Paper 30”x21 1/2” Right: View Into Kitchen Window Oil on Canvas Bottom: Rutledge and Bogard
June 24, 1948 - Born Kingstree, SC 1966 - 1970 - Studied at Baptist College
[now Chas. Southern University]
Southland”, Roper Hospital, Charleston, SC
1989 - First Place Award, C&S Bank , Florence Museum, Florence, SC
1966 - 1969 Studied in Charleston with Raymond Goodbred 1968 - 1969 - Student of Robert Brachman, Mystic School, Mystic, CT 1969 - Class monitor at Mystic School for Robert Brachman 1970 - 1972 - Student at The Art Student’s League and
National Academy of Design, New York with painters Eric
Eisenberger, Daniel Greene, Robert Brachman, mentored by John
1991 - Contemporary Charleston Exhibition,
The Gibbes Museum of Art, Charleston, SC
1993 - Legends Magazine feature 1994 - Lure of The Lowcountry Exhibition,
1971 - Certificate of Merit, Honorable mention for “Man “,
1994 - Cover Artist, Charleston Magazine
Salamagundi Arts Club Annual Exhibit. Elected to
membership in the Salamagundi Club
The Gibbes Museum of Art
1999 - 2001 - Numerous one man and group shows,
1973 - One Man Show, Carolina Prints and Frames,
16 Patton Gallery, Asheville NC and Blowing Rock
Gallery, Blowing Rock, NC
1973 - One Man Show, Tryon Fine Arts Center, Tryon, NC 1973 - 1974 - Curator of Arts and Instruction, TFA
1999 - Featured in Palette Talk magazine
1973 - Located, retrieved and curated an exhibit of the work of Homer
1973 - Curated Elliot Dangerfield exhibit, Tryon Fine Arts Center in
cooperation with The Mint Museum , Charlotte, NC
2000 - Cover Artist, Hemispheres Magazine 2001 - Traveling Exhibit, Anne Long Gallery, Charleston, SC
1974 - Best in Show, Purchase Award, Spartanburg Bank and Trust An
Florence museum, Florence SC Rutledge Street
Gallery, Camden, SC
nual Art Exhibit
1975 - Stage designer for theater group, Forest City, NC 1979 - Death of father necessitated his move back to family farm,
1982 - One Man show - Georgetown Museum, Georgetown SC 1983 - Featured artist in Pace, Piedmont Airlines
1983 - Featured artist in American Artists Magazine , “Painting the
1983 - 1984 - Awards in NBSC Oil Painter’s
2003 - Inaugural Opening, Waterfront Gallery,
2006 - Retrospective Exhibition, “William
McCullough, Southern Painter”,
Piccolo Spoleto Festival, Charleston, SC
2008 - One Man Show, McColl Fine Art,
Left to Right: Line Street Crossing Oil on Canvas-25”x35” collection, Gibbes Museum of Art Studio Door Oil on Canvas 31”x27”
Invitational, Sumter SC, Pee Dee Regional Art Competition,
2010 - Portrait of Greenville - Invitational Art
Exhibit - Greenville Museum of Art,
Petigru Law Office Oil on Panel 131/2”x 11”
Spring on Cannon St. Oil on Canvas 24”x20”
1987 - 1997 - Oil painting instructor, Gibbes Museum of Art,
1988 - One Man Show, “Oils and Pastels of The
Spring Street Barber Shop Oil on Canvas 28”x34”
415 King Street Charleston, SC 29403 | (843)722-8689
Itâ€™s the 7th Inning and We Are Down by 1 Run A Little Wisdom from
Ted Turner by Adam Bernholz
The Earth as seen From the Moon. Snapped on 12 June, 2010 by the Lunar Reconnaissance Orbiter Camera that was designed to conduct polar illumination studies and global mapping. NASA
New Priorities For Our Energy Future By T. BOONE PICKENS AND TED TURNER
Renewable energy and clean-burning natural gas are the basis of a new strategy the world needs to create a cleaner and more secure future. And the global transformation to a clean-energy economy may be the greatest economic opportunity of the 21st century. According to the authoritative Potential Gas Committee (administered by the Colorado School of Mines), the U.S. sits on top of massive reservoirs of natural gas—an estimated 2,000 trillion cubic feet—that contain more energy than all the oil in Saudi Arabia. Harnessing this large supply—plus developing wind, solar and biofuel energy sources—is essential to achieve three strategic national priorities: • Energy security: The internal combustion engine makes us dependent on oil that’s concentrated in a handful of countries in some of the world’s most volatile regions. In June, we imported 374 million barrels of oil, nearly two-thirds of what we used, at a cost of $24.7 billion. With 70% of imported oil going into cars and trucks, our transportation system is perilously at risk to shaky oil markets and even shakier regimes. • Economic security: Last year more than $155 billion was invested in clean energy technologies such as wind and solar, and China and India plan to invest hundreds of billions in renewable energy sources. The annual market for clean energy may escalate in the next decade to between $1 trillion and $2 trillion. The race is on. • Climate security: Likewise, the clock is ticking on potentially devastating climate changes. We already are witnessing the disintegration of polar ice, melting glaciers, rising sea levels and altered weather patterns. But if we act now, we can prevent catastrophic human and economic impacts. Long-term economic and environmental interests compel us to put a priority on energy independence and a price on carbon pollution. Natural gas and renewable energy are obvious sources for cheap, clean and reliable electric power and transportation fuels. In the electricity sector, natural gas is already cheap, available and ready to meet the nation’s power needs
Ted Turner with family and friends on Earl McMillian’s yacht Freedom at the 12 Metre North American Championship/America’s Cup Reunion, Newport, Rhode Island, September 2010. Turner won the America’s Cup challenge in 1977 on his boat Courageous.
while improving climate security. It emits about half the carbon dioxide per British thermal unit of energy, and far fewer of the heavy metals than does coal. Adopting a “cash-for-clunkers” program in the utility sector can save money and reduce emissions right away by retiring the oldest, least efficient and most polluting power plants in exchange for modern gas-powered
take just 20 refueling stations along a single highway to get trucks from one coast to the other. Centrally fueled urban business and government fleets also can quickly move to natural gas. The Ports of Los Angeles and Long Beach are in the process of buying new natural gas vehicles for their fleets, and many municipalities are harnessing the economic and environmental benefits of
plants. New coal plants should be required to combine natural gas with the coal they burn, resulting in cleaner emissions, and every power plant should meet strict carbon-emissions standards. We should also adopt a strong national standard requiring that electrical generation include a growing percentage of renewable fuels to help bring down costs over time, and ensure America’s place in the burgeoning global competition for innovative renewable and efficiency technologies. Numerous state initiatives have already demonstrated the feasibility of these standards on a smaller scale. In the transportation sector, renewable energy and natural gas can also be deployed immediately. For a quarter century, natural-gas vehicle technology has been available but stymied by lack of leadership. Of the 10 million natural gas vehicles in the world, fewer than 150,000 are in the U.S. We can begin transitioning the nation’s fleet of 6.5 million 18-wheelers that run regular routes. It would
natural gas-powered buses. Renewable biofuels should also be part of a new energy strategy. Advanced biofuels produced from cellulosic material, such as forest residues, municipal waste or even algae, can play a key role in reducing the vulnerabilities, emissions and costs associated with imported oil, while also providing new economic opportunities for America’s farm communities. The economic, environmental, and national security imperatives of America’s energy posture are clear, as is the proven potential of domestic natural resources like gas, wind and solar power. Coupled with energy efficiency, these resources have the potential to help jump-start the economy, drive prosperity and reduce emissions well into the 21st century. The keys are in our hands. All we have to do is unlock the door and start the engine. [d] Mr. Pickens is CEO of BP Capital. Chairman of Turner Enterprises Inc.
Mr. Turner is
Petroleum products and their relative share of total U.S. petroleum consumption in 2009: U.S. refineries produce between 19 and 21 gallons of motor gasoline from one barrel (42 gallons) of crude oil. The global supply of crude oil, other liquid hydrocarbons, and biofuels is expected to be adequate to meet the worldâ€™s demand for liquid fuels for at least the next 25 years. (The Energy Information Office) Petroleum products include transportation fuels, fuel oils for heating and electricity generation, asphalt and road oil, and the feedstocks used to make chemicals, plastics, and synthetic materials found in nearly everything we use today. About 72% of the 6.85 billion barrels of petroleum that we used in 2009 were gasoline, diesel fuel, and jet fuel.
Gasoline 48% Diesel Fuel1 17% Jet Fuel (Kerosene) 7% Propane/Propylene 6% NGL & LRG2 5% Still Gas 3% Residual/Heavy Fuel Oil 3% Petrochemical Feedstocks 3% Heating Oil3 3% Petroleum Coke 2% Asphalt and Road Oil 2% Lubricants 1% Miscellaneous Products & Unfinished Oils 0.2% Special Naphthas 0.1% Aviation Gasoline 0.1% Kerosene 0.1% Waxes 0.03%
Alaskaâ€™s crude oil production peaked in 1988 at about 738 million barrels, which was equal to about 25% of total U.S. oil production. In 2008, it was about 250 million barrels, or about 14% of total U.S. production. Since the Trans-Alaska Pipeline System from the North Slope of Alaska was finished 1977, about 96% of total Alaskan production has come from the North Slope. The rest comes from Southern Alaska. Most Alaskan oil has gone to refineries in Alaska, California, Hawaii, and Washington. Relatively small amounts were shipped to Puerto Rico, the U.S. Virgin Islands, and foreign countries. Export of oil transported in the Trans-Alaska Pipeline System was banned until 1996. Between 1996 and 2004, a total of about 95.49 million barrels of crude oil, equal to 2.7% of Alaskan production during that period, was exported to foreign countries. As of September 2009, no Alaskan oil has been exported since 2004.
The Summer Wind
Came Blowin’ in from Across the Sea
It Lingured There,
To touch Your Hair
And Walk with Me
The US Department of Energy has given Clemson University a 45 million grant for wind turbine research. There is also a 53 million dollar matching
Left to right, clockwise: Vestas V90 Wind Turbine Kentish Flats off of England; Hywind floating wind turbine; Middelgrunden is an offshore wind farm in the
fund from private partners Renk AG, who makes special gears; Tony Bakker, founder of Daniel Island-based Blackbaud; and James Meadors, head of
Oresund 3.5 km outside Copenhagen, Denmark. When it was built in 2000, it was the world’s largest offshore farm, with 20 turbines and a capacity of 40 MW.
Meadors Construction and chairman of the Charleston Green Committee. Other organizations also will be involved as the project progresses, including
The farm delivers about 4% of the power for Copenhagen.
the Savannah River National Laboratory, which will handle the data processing.
190 jobs will start in January and the Department of Energy has been quoted as saying 10,000 to 20,000 jobs related to the development of
wind energy could be in the state’s future over the next 20 years. Clemson will test the next generation of wind turbines and drivetrains at the Clemson University Restoration Institute’s research campus on the old Navy base, which includes theWarren Lasch Conservation Center, where the Confederate submarine H.L. Hunley is being preserved.
The future of wind energy technology for the United States will come from the old Charleston Navy Base.
From OPEC countries we import 4.75 million barrels of petroleum a day. 48 % of the imported oil. From Persian Gulf countries we import 1.67 million barrels a day. 17% of the imported oil. Excerpt from Matt Taibbi’s
agreement (the core of which was Nixon’s decision to abandon the gold
of oil per barrel doubled, then quadrupled, leading to increased costs for
enough to remember very well.
standard, an interesting story in its own right). In retrospect we ought to have
consumers world-wide and to the potential for budgetary collapse in less stable
Then, after that period, the United States and the Arab world negotiated an
known we were in trouble earlier that year because on January 7, 1973, then–
economies . . . The United States, which faced growing oil consumption and
uneasy detente that left oil prices at a relatively steady rate for most of the next
private economist Alan Greenspan told the New York Times, “It is very rare
dwindling domestic reserves and was more reliant on imported oil than ever
twenty-five years or so.
that you can be as unqualifiedly bullish as you can be now.” Four days later,
before, had to negotiate an end to the embargo from a weaker international
So now it’s 2004. The United States and George W. Bush have just done an
on January 11, the stock market crash of 1973-74 began. Over the course of
position. To complicate the situation, Arab oil producers had linked an end
interesting thing, going off the map to launch a lunatic invasion of Iraq in
the next two years or so, the NYSE would lose about 45 percent of its value.
to the embargo to successful U.S. efforts to create peace in the Middle East.
a move that destabilizes the entire region, again pissing off pretty much all
the oil-rich Arab nationalist regimes in the Middle East, including the Saudi
Let’s go back in
time, to the early seventies. It’s 1973, and Richard Nixon’s White House makes the fateful
them flat at a now escalated price. Prices skyrocketed again during the Carter
The price of oil pushes above forty dollars a barrel that year and begins a steep
when on October 6 Egypt and
administration and the turmoil of the deposition of the shah of Iran, leading
Syria launch an attack on the
to the infamous “energy crisis” with its long gas lines that some of us are old
would become known as the
of the oil-producing Arab
Yom Kippur War.
states, and as a result, the
Six days later, on October 12,
Organization of the Petroleum
Nixon institutes Operation
Nickel Grass, a series of airlifts
OPEC - a cartel that at the time
of weapons and other supplies
included Saudi Arabia, Kuwait,
into Israel. This naturally
the UAE, Libya, Iraq, and Iran,
pisses off the Arab nations,
among others — decided to
which retort with the start of
make a move.
of a long period of decline,
Kippur holiday and the war
This pisses off most
despots - although, on the other hand, fuck them.
attack takes place on the Yom
the 1973 Arab-Israeli War.
levels after the American surrender in the Yom Kippur episode, but just kept
in the 1967 Six-Day War. The
with military equipment during
the oil embargo on October 17.
For the second time
Oil prices skyrocketed, and
in six years, they instituted an
without making a judgment
embargo of oil to the United
about who was right or wrong
States, and eventually to any
in the Yom Kippur War, it’s
country that supported Israel.
important to point out that it
The embargo included not only
only took about two months
bans of exports to the targeted
from the start of the embargo
countries, but an overall cut in oil production. The effect of the 1973 oil embargo was dramatic. OPEC effectively quadrupled prices in a very short period of time, from around three dollars a barrel in October 1973 (the beginning of the boycott) to more than twelve dollars by early 1974. The United States was in the middle of its own stock market disaster at the time, caused in part by the dissolution of the Bretton Woods
Hilariously, the OPEC states didn’t drop the prices back to old
spot anyway, in the middle
territories Israel had captured
decision to resupply the Israelis
So we’re in this bad
for Nixon and Kissinger to go from bluster and escalation to almost-total surrender. On January 18, 1974, Kissinger negotiated an Israeli withdrawal from parts of the Sinai. By May, Israel agreed to withdraw from the Golan Heights. This is from the U.S. State Department’s own write-up of the episode: Implementation of the embargo, and the changing nature of oil contracts, set off an upward spiral in oil prices that had global implications. The price
Brilliant Skies to Power 9,000 Homes
The landscape of northern New Mexico is at once stark and scenic. The plains roll far into the distance to meet the snow-capped eastern slopes of the Sangre de Cristo Mountains. The vast openness can seem strange to a native Southerner used to seeing green in every direction. Plants like sage brush and deer grass get by on little water and marginal soils. But they survive in part because of one abundant resource, sunshine. This expanse of open land and abundance of sunshine - about 300 sunny days per year - also makes it well-suited for producing electricity with solar panels. Itâ€™s one of the reasons Southern Companyâ€™s first largescale commercial solar plant is located here. Southern Company, Turner Renewable Energy, Tri-State Generation and Transmission Association, and First Solar Inc. have officially marked construction and donned the place the Cimarron Solar Facility. Construction is already under way, with poles in the ground and brackets and mounting tables being added daily. A June 9 ceremony marked the start of installation of the solar modules. The facility will consist of approximately 500,000 2-by-4-feet photovoltaic modules manufactured with First Solarâ€™s patented thin film semiconductor technology. http://www.southerncompany.com/news/news_cimarron.aspx www.TedTurner.com
SHAKERS & MOVERS The 21st Century Charleston has always drawn people that could live anywhere but choose here. Like our friend Ned Brown who writes for the New York Social Diary recently wrote â€œnew arrivals to Charleston in recent decades paved the way to making it special: financier Richard Jenrette followed by Richard Rainwater(who made the Bass family fortune) and Mike Dingman of Henley Industries; New York advertising and public relations leaders like Charlotte Beers and Lou Rena Hammond; politicos like pollster Pat Caddell. The new arrivals had to be coupled with interesting locals who bring texture.â€œ
Mike Seekings is a successful attorney, businessman,
the city needs to make drastic infrastructure improve-
private pilot, Adjunct Professor at the Charleston ments as well as create special bicycle lanes to make School of Law and a Charlesthe city more accessible on bike. ton City Council member Mike was elected to his first MIKE SEEKINGS who has spent the last twenty year term to Charleston City Photo by Brownie Harris years in the city of Charleston. Council in the fall of 2009 and As an avid runner and he is mostly focused on controlbicyclist, Mike has worked tirelessly in improving the ling flooding, expanding the local economy, accelerbiking/running conditions throughout Charleston. He ating construction of the West Ashley Bridge pedesunderstands that to make Charleston more bike friendly, trian/bike lane and improvement of The Greenway.
Charlestonians are known for College of Charleston will College of Charleston being niceâ€Ś to your face. But hop present to the Mayor and City Masters of Business Administration on two wheels, and you could find Council a cohesive plan to make Photos by Bette Walker yourself at the tail end of a rude the streets safer for those who attitude. A group of graduates prefer to fuel thier transportation wants to change gears by making Charleston bikewith their own sweat rather than foreign oil. With friendly with a system of bike lanes and innovative narrow lanes, a skinny municpal budget, and SUVchanges to the cities policy on bicycles. The new loving locals, these young activists are going to have a Masters of Business Administration class at the difficult task in front of them.
21 year old Haley Dreis is a classically trained violinist. The
Honors College. She has toured with Jay Clifford (of Jump
singer-songwriter is reminiscent of artists like Sara Ba-
Little Children) and has performed alongside national
reilles and Michelle Branch, but her memorable melodies
acts Tonic and We the Kings. You can learn more about
and insightful metaphors are one of a kind. Dreis currently writes songs
Haley and listen to her music at
for herself and other artists, tours as an artist, and continues to record new material, all while a full-time music student at the University of South Carolina
full-length debut album â€œBeautiful to Meâ€? is available on iTunes and CDBaby.com.
One of Charleston’s finest citizens, Tommy Baker, has many like. He is 100% accessible. Like one of the people in Macolm things to get accomplished every day. Few people know just Gladwell’s The Tipping Point. Tommy Baker is a connector. how many things that entails. He throws a golf tournament at Connectors are the people who “link us up with the Bulls Bay every year in December that raises money for the world ... people with a special gift for bringing the world toChildren’s Hospital. He was the Chairman of the Board of the gether.” They are “a handful of people with a truly extraorhospital for many years. For 20 years he has been a teacher at dinary knack [... for] making friends and acquaintances”. the Business School at the College of Charleston. He was one Gladwell characterizes these individuals as having social netof the key factors in the College getting works of over one hundred people. accredited for the Masters in Business To illustrate, Gladwell cites the TOMMY BAKER Administration that came online in following examples: the midnight Photos by Bette Walker 2010. He is now busy helping them get ride of Paul Revere, Milgram’s a building in place. So when he is not doing this and other huge feats of philanthropy he is running one the most successful car dealerships in America. In 2008 he was the Best of the Best of Mercedes dealerships in the US and recently, the world. He has 9 brands on what he calls the campus on Highway 17. Some of the strongest brands in the world. Land Rover, Porsche, Infinity, Mercedes and Jaguar. But with all of this he is still one of the great people to know and
experiments in the small world problem, the “Six Degrees of Kevin Bacon” trivia game, Dallas businessman Roger Horchow, and Chicagoan Lois Weisberg, a person who understands the concept of the weak tie. Gladwell attributes the social success of Connectors to “their ability to span many different worlds [... as] a function of something intrinsic to their personality, some combination of curiosity, self-confidence, sociability, and energy.”
Mark Bryan is a founding member, songwriter and lead guitarist for the multi-platinum, Grammy award winning Hootie and the Blowfish. While Hootie is on hiatus, Bryan constantly writes, records and produces music. He is the founder for Chucktown Music Group (CTMG). Founded in early summer of 2009, CTMG is a boutique music company focused in
feel needs to be heard by more people. I have become increasingly disillusioned with the process of making and releasing albums in an era where listeners are more interested in individual songs. Fortnight felt like the most efficient way to bring the noise.” Bryan also began teaching at the College of Charleston for the Arts Management Department in the
producing and releasing music in new innovative ways fall of 2009. He is teaching an introduction to music while helping local and regional acts get exposure. management class covering all the basics of the music Bryan debuted Song of the Fortnight in August industry, including booking, publishing and production. 2010. A new song launches every two weeks through Bryan is also co-chairman for the board of a streaming media player on Carolina Studios, a nonthe website, http://www.ctmg. profit organization located in us. Alongside the player, the downtown Charleston. They MARK BRYAN site features artist images, bio have partnered with The Boys information, a brief Q&A session and Girls Club to provide a safe and an option to purchase the song. This grassroots after-school environment where disadvantaged youths internet campaign intends to showcase local Charleston are encouraged to develop their potential through the musicians as well as regional artists free of charge to the exploration of digital recording, digital photography, viewer. videography, and graphic arts. Furthermore, the Mark explains his inspiration behind the project, children are able to develop core computer skills and “I’ve been writing, co-writing, and producing music behavioral skills needed for their ongoing education and for years now, and I have a ton of great material that I their future careers. www.carolinastudios.net
When Carolyn Bessett and John Kennedy Jr. decided
Alligator and horse skulls from the island always
to get married they picked their good friend Go Go graced our fireplace.â€? Go Go is today one of the Furguson to help plan the wedding on the small great jewelry designers out there. She took her barrier island that she grew up on, Cumberland. childhood memories on Cumberland and translated It was on this island that she them to her art. From lost wax casting and her grand-mother Lucy she makes beautiful things that are GO GO Ricketson Ferguson, an amateur carried in boutiques and galleries naturalist, would explore the all over the world. These days she FERGUSON pristine Georgia island. She said spends her time between her studio in a Garden & Gun article that on Cumberland Island and her studio â€œMy grandmother taught me how to notice things in San Miguel de Allende in Mexico, and her main as a young child: bird tracks, deer tracks, horse studio at her store on St. Simons Island, Georgia. skeletons, lichen on trees, the pattern on flounder.
In 2009 Mike Lata won the best chef award
not want anything else to get in the way,”
from the James Beard Foundation. Prior to said a local celebrity. The front of the house that the self-taught chef was winning over of FIG is run by business partner Adam a loyal clientele who Nemirow. What Mike does MIKE LATA appreciate his brand in the kitchen, Adam does of artistic expression. on the floor. Make FIG an Chef/Partner Fresh and local are easy-going neighborhood Photo by Brownie Harris a mainstay. He loves restaurant. Mike was the the simple approach executive chef at Anson’s to great cooking. His vegetables and side in 1998 before opening FIG. Charleston is dishes are exquisite. World Class. “When I lucky to have Mike Lata and it looks like it is first went into FIG, which stands for Food Is also vise versa. Good, I only ordered the cauliflower. I did
By College of Charleston graduation in the spring of crew chief Matt Cheroutes. In 2004, Morrison enrolled 1998, Ham Morrison knew he wanted to race. He got in automotive technology courses at night to learn more behind the wheel for the first time at The Bob Bondurant about engines and chassis setups while maintaining a full School later that summer and his passion was fueled. To time job in historic home renovations in Charleston. Upon learn more about competing in his first K . HAMILTON MORRISON the sport, Morrison full season of racing, worked sales and Morrison earned the marketing for his local track, the Summerville Speedway. 2004 Summerville Speedway Division Championship, That same fall, he bought his first racecar - a 1976 Chevy securing 3 victories and 10 top 5’s that year. 2011 will be nova. “On Saturday nights Ham drove his race car to a big year for Ham as he keeps his dream alive on the race and from the track which really tickled the hell out of course. Follow him at www.hammorrison.com everybody, he was a real crowd favorite,” recalls his
Fanny and Patrick Panella, the owners of Bin
on each table. Enjoy a relaxed conversation in this
152, balance sophistication and intimacy in never-rowdy bar. Grab a table by the window to their fashionable wine bar. From this rustic and watch well-heeled shoppers comb the renowned chic setting at the corner of antique district. Or, do some BIN 152 King and Queen Streets, shopping yourself. Bin 152 is you can taste 130 different also an art gallery and an antiques Photo by Brownie Harris wines from across the globe. market. So, if you want it, you can Enhance each sip with a selection from the à have it. The art on the wall, and even the chair la carte menu of decadent cheeses and robust you are sitting on, is for sale. charcuterie. Wooden paneling and hardwood C’est parfait! floors warm the room, which is lit by tiny votives
Take a good look around Charleston, and you’ll see Guerard transforms rooms into portals, whisking lots of pineapples. Seriously. The image of this funky guests from reality into an alternate state. Check out fruit is everywhere. It sits above door frames, is molded her website, where chandeliers drip like stalactites into wrought-iron gates, and even stands at the mouth from a fabric ceiling as voluptuous as Charlotte of the harbor as a massive, splashing fountain. Why Rousse. Click around to get a feel for the variety of pineapples? Well, they’re a symbol for hospitality in her transformations: romantic riverside settings, chic this town. Charlestonians love to and flirtatious lounges, and a dining Tara Guerard throw parties. And, to do it right, hall so golden as if Midas himself had they hire Tara Guerard. She owns gotten carried away. Go to www. Tara Guerard Soiree, a full-service event-planning and taraguerardsoiree.com and you won’t be disappointed. design company in the Holy City. (Charleston is also In fact, Guerard’s parties are a lot like pineapples: known its churches, which just happens to make this sweet, zesty, and totally unexpected. picturesque harbor town ideal for throwing weddings).
“He neither drank, smoked, nor rode a bicycle. Living frugally, saving his money, he died early, surrounded by greedy relatives. It was a great lesson to me.” John Barrymore (1882—1942 US actor)
Sambo Mockbee MADISON HOUSE 1987 pen, pencil, acrylic and crayon on yellow trace 11 x 14 1/2 inches
CITIZEN ARCHITECT SAMBO MOCKBEE December 23, 1944 â€“ December 30, 2001
Mockbee was born in Meridian, Mississippi. He served two years in the U.S. Army as an artillery officer at Fort Benning, Georgia. He enrolled at Auburn University and was graduated from the School of Architecture in 1974. Mockbee interned in Columbus, Georgia before returning to Mississippi in 1977, where he formed a partnership with his classmate and friend, Thomas Goodman. A growing sense of connection with rural places and a respect for the disadvantaged people who inhabit them, led Mockbee, along with D. K. Ruth, to found the Rural Studio program at Auburn University. That program became widely acclaimed for introducing students to the social responsibilities of architectural practice and for providing safe, well-constructed, and inspirational buildings to the communities of West Alabama. In many cases these buildings, designed and built by students, incorporate novel materials which otherwise, would be considered waste. The buildings often consist of a combination of vernacular architecture with modernist forms.
In 1993 Mockbee was awarded a grant from the Graham Foundation for Advanced Studies in the Fine Arts to work toward the publication of his book, The Nurturing of Culture in the Rural South An Architectonic Documentary. In 1998, Mockbee was diagnosed with leukemia. After a strong and near miraculous recovery, he went on to accept awards and recognition for his work including the MacArthur Foundation Genius Grant, but fell to a relapse of the disease three years later. Mockbee was nominated posthumously for the American Institute of Architects (AIA) Gold Medal in 2003. No Gold Medal was awarded that year, but the following year, the medal was awarded to Mockbee. Some of Mockbeeâ€™s work was selected by Lawrence Rinder to be part of the Whitney Museum of Art 2002 Biennial. David Moos curated an exhibition on Mockbee at the
Birmingham Museum of Art in Birmingham, Alabama, which was in its planning stages when Mockbee died. The exhibition was named, Samuel Mockbee and the Rural Studio: Community Architecture. This retrospective was intended to be a celebration, but because of his death, became a memorial and tribute. ^ “Samuel ‘Sambo’ Mockbee Awarded 2004 AIA Gold Medal Posthumously’, The American Institute of Architects, December 2003
^ Samuel Mockbee and the Rural Studio: Community Architecture, Samuel Mockbee, David Moos (Editor), Gail Trechsel (Editor), 2003-11-01, Birmingham Museum of Art. ISBN 093139452X 3) Dean, Andrea Oppenheimer and Hursley, Timothy, “Rural Studio: Samuel Mockbee and an Architecture of Decency”, Princeton, NJ: Princeton Architectural Press, 2002. - wikipedia
Sambo Mockbee by Neil Stevenson
“As an artist or an architect, I have the opportunity to address wrongs and try to correct them,” Mockbee once said. In 1992, Mockbee was hired as a professor within Auburn University’s School of Architecture. Viewing the opportunity as his chance to make a difference in a community and work
scavenged materials. The walls of the chapel were built of 1000 tires donated by The Central Tire Company who had just received a court order to clear its lot. The tires were filled with earth, wrapped with wire and covered with stucco. The floors were quarried by the students from a creek in Tuscaloosa, the heavy pine timbers were harvested
with younger generations, he co-founded the Rural Studio with longtime friend and colleague D.K. Ruth. “The main purpose of the Rural Studio is to enable each student to step across the threshold of misconceived opinions and to design/build with a ’moral sense’ of service to a community. It is my hope that the experience will help the student of architecture to be more sensitive to the power and promise of what they do, to be more concerned with the good effects of architecture than with ’good intentions.” The attached images are examples of some of the most creative, adaptive reuse of common, salvaged materials used by the Rural Studio to humbly and inexpensively exalt architecture. The Yancey Tire Chapel was designed by a group of thesis Students who managed to build the structure using mostly
from an abandoned building, the roof was sheathed in rusted tin which they cut into shingles, the steel for the pulpit is made from scrap steel donated by the Department of Transportation and the land was donated by a local dairy farm. The entire Chapel cost $15,000 in 1994. The Mason’s Bend Community Center and Chapel was designed by another group of thesis students to replace the current Chapel which was occupying an old converted trailer at the time. The land was donated by Anderson Harris, owner of the Butterfly House in exchange for the land, the students moved an old bus that Harris’s son was living in from the site to his back yard where he was closer to the family. Like most Rural Studio Buildings, the resourcefulness of material usage only adds to the richness of architecture. The
rammed earth walls are 30% clay and 70% sand from the site which was mixed with portland cement, poured in six by eight inch forms and compressed with a pneumatic tamper. For trusses, the students cut down cypress trees from land owned by an Akron native and rural studio supporter and sent off to be cured and laminated. The left over timber was used to handcraft the benches. The glass roof is made from recycled car windsheilds which were obtained from a scrap yard in Chicago, where one of the students lived, which allowed customers to have anything they can pull away for
The Harris ‘Butterfly House’
almost nothing. For $120, the students managed to obtain 80 Chevy Caprice windshields. The structural steel was donated by the family of a journalist who had written a story about the Rural Studio. In the year 2000, the center was built for a total of $20,000 which was provided by Potrero Nuevo Fund of San Francisco in a community which doesn’t even have paved roads.
one of those today” as though he was being sold an Amway product. With some convincing the Harris’s relented. The new building would not be air conditioned and so would have to rely on good, natural ventilation and since the porch was basically the Harris’s living room, the design would focus on that space. The resulting design articulates a winged shaped tin roof, resembling a perched butterfly, built over the 250 sq. ft. screened porch, that not only
Anderson and Ora Lee Harris lived in a leaky old ram shackled shack without heating or indoor plumbing. They practically lived on their 6’x14’ porch which was barely wide enough for Ora to maneuver her wheelchair around. Even so, when Samuel Mockbee first approached the Harris’s to see if they would be interested in the Rural Studio designing and building them a new, free house, Anderson Harris’s reply was “No, I don’t think I’ll take
effectively catches the prevailing breezes but also harvests the rainwater which is held in a cistern and can be used for flushing the toilet or washing clothes. By using inexpensive tin as the roofing material and recycled heart pine from a 105 year old church that was being raised nearby, for the building material, the cost for the house was able to be kept to about $25,000 plus another $5,000 for a wetland sensitive septic system. The project was finished in 1997.
BARTON HOUSE 1989 pen and colored pencil on paper 14 3/4 x 18 inches
The accolades continued and his ideals and innovations lived on after his death. In 2002, the Rural Studio was part of the Biennial Celebration at the Whitney Museum of American Art in New York City and the NeoCon World’s Trade Fair, the annual design exhibition in Chicago. Mockbee was honored posthumously with Auburn University’s Lifetime Achievement Award. His students paid a memorial tribute to their leader with a Birmingham Museum of Art exhibit entitled “Samuel Mockbee and the Rural Studio: Community Architecture,” curated by David Moos in 2003. That same year, the cities of Vienna, Austria, and Barcelona, Spain, hosted exhibits on the Rural Studio and lectures by Andrew Freear, Mockbee’s AU colleague who assumed the mantle of leadership after his death. On March 3, 2004, Samuel Mockbee was posthumously awarded the American Institute of Architects’ prestigious Gold Medal, joining such luminaries as Thomas Jefferson, Frank Lloyd Wright, Eero Saarinen, and I. M. Pei. [d]