16 minute read
Goodbye To All That
For the first few years after our daughter was born, Jeff and I would have had no social life whatsoever – and I mean zero – had it not been for the Charles Street Gallery. There, in the backyard garden of that wonderful old house of treasures, magic happened on a regular basis. Every month or two, Georgia and Lyals “Sonny” Phillips, along with their daughter Tanja, hosted artist’s receptions, complete with delicious homemade food, wine, and live music – usually Phil Griffin or Stan Boyd – while the grandkids, Tanja’s boys, ran wild under the oaks, beneath the pink sunset, with a handful of other small children whose parents lived for those evenings. We were some of those parents.
In my memory, these backyard receptions are the stuff of myth, alive with the buzz of artists, musicians, writers, academics, and anybody else who loved art and ideas and interesting conversation. And, again, there were the children. Always, the beautiful children . . .
This went on for many years, and I remember thinking, at the time, that our kids would remember those parties forever – the lightly-supervised freedom, the sense of adventure, the chatter around the chiminea, the sunsets. They were in their own little world and we adults were in ours. Together, but separate. It was heaven.
Of course, Georgia and Sonny didn’t open the Charles Street Gallery to provide a bustling social life for creative types who couldn’t find a sitter. But I do believe cultivating an artistic community in Beaufort was always a big part of their vision.
And now, after almost 25 years, the Charles Street Gallery is closing its doors. It’s almost impossible to overstate what this establishment – this institution – has meant to our town.
My friend and fellow writer Teresa Bruce put it so well recently, saying, “Paris had Gertrude Stein. New York had Alfred Stieglitz. Beaufort had Lyals and Georgia Phillips. The Charles St. Gallery is a big reason so many artists and poets put down roots in Beaufort. They felt at home.“
Looking back through Lowcountry Weekly’s archives, it’s almost staggering to see the number of acclaimed local artists who’ve enjoyed representation – and receptions! – at the Charles Street Gallery over the years. Joan Templer, Cabell Heyward, Lynn Brown, Karol Thompson . . . just to scratch the surface.
While perusing those archives last week, I came upon an article we published almost ten years ago, when the gallery was celebrating its fifteenth anniversary. The piece was full of testimonials from Charles Street “regulars,” and rereading them made me a little weepy. I thought I’d share some of them so you could get weepy, too . . . or at least get a sense of what Beaufort is losing.
“Beaufort is lucky to have the Charles Street Gallery, which is set in a restored traditional house with a beautiful garden. Georgia and Sonny are more like art patrons. They are knowledgeable, kind, straightforward, and direct with no overt salesmanship or hype. The exhibition openings are important occasions in Beaufort, replete with live music, wonderful food, genuine warmth, and are typically gatherings for buyers, artists, and Beaufort’s artistic society.” — Joan Templer, artist
“They just nail it. They’ve got good energy. Walking up the stairs is exciting, the anticipation builds— who’s up there, what’s on the walls?” — Rhonda Jordan, former owner of Tabby Fabric & Studio
“Sonny and Georgia are true assets to the community in terms of supporting community issues, schools, Hope Haven, choice. If you need them, they do their best. They are up to date for the goings on and ready to encourage art for community . . . I believe in the art and artists they represent. They always KNOW the artist, their education and commitment to their art, the mindset of the artist interests them and adds to the authenticity of the work itself.” — artist Sharon DeAlexandris
“I always feel welcome at The Charles Street Gallery. It seems like a second home.” — Warren Slesinger, poet Artist Cabell Heyward with Georgia and Lyals “Sonny” Phillips “Sonny and Georgia have redefined what it means to be a family business. They make all their visitors feel like family and have adopted many of us. Stop in to meet local artists, see amazing artwork, make new friends, listen to good music, and eat Georgia and Tanja’s amazing home cooking. They are part of what makes Beaufort a nice place to live.” — Samantha Campbell. scientist “I bake poundcakes for Georgia whenever she commands, especially since Sonny grows some good peppers for my hot sauce. Their sense of humor is the main ingredient.” — Irby Rentz, baker “The two of them, Georgia and Lyles (whom I seem more often to call “Sonny,” because Georgia does, and we know Georgia rules), of course, make the place. It’s the place, at their glorious receptions, where we’ve met almost every kindred spirit we’ve ever met in Beaufort. Great hearts, both of them; never to be taken for granted. I will always be grateful for their welcoming our periodic poetry readings in the garden— more than welcoming, they almost demand that we be there. Let me not forget to mention my love of hearing Sonny’s tales of Memphis and my serious attachment to Serbia (Georgia’s home country), despite and because of its turbulent history. These two people carry large gravitas, deeply instructive senses of Margaret Evans
RANTS
& RAVES
place, along with great joy in living, which they always share: Georgia and Sonny are wonderfully contagious people. I love them both. Georgia, in my head, just told me to shut up already.” — Quitman Marshall, poet
I spoke with Georgia Phillips recently and asked her what the past 25 years have meant to her and Sonny.
“It’s been the most wonderful experience we could have possibly had,” she told me. “We got to meet so many people that we like so much. I’ll tell you something, Margaret. I’m not going to miss the work, but I’ll miss the people.”
Whenever I think of Georgia, I envision her bustling around the gallery, or behind the counter framing a painting, putting out another tray of delicious homemade food, or corralling the kids in the garden. The image of her – or her gregarious, woodworking husband – in full retirement is almost impossible to conjure. So, I asked Georgia if that was actually the plan, or if, perhaps, they had some big post-gallery venture lined up. “Margaret, I’m almost 80 years old,” she replied. “I’m going to sit in my chair in the living room and finish all the crocheting I started years ago.”
Fair enough, Georgia. You’ve earned it. You both have.
I’ll end this column with one more testimonial from that tribute piece we published ten years ago, before we all got older and the children grew up and the garden parties became fewer and farther between.
“I can’t imagine Beaufort without the Charles Street Gallery. The inspiration, the creativity, the friendship, the love. Georgia and Sonny generate this kind of warm, nourishing energy wherever they go. They can’t help it; they’re like the sun. I’m just so glad they came here.” — Margaret Evans, Lowcountry Weekly editor
The Charles Street Gallery will host a close-out sale of assembled frames and framing/matting materials Oct. 29-31. The gallery is located at 914 Charles Street, Beaufort. 843-521-9054.
A Cornucopia of Colors
USCB Chamber Music returns with 43rd season opener
By Michael Johns
On Sunday, November 6, 5 pm, USCB Chamber Music's 43rd season opens with a spectacular splash of musical colors and styles. Artistic Director, pianist, and host Andrew Armstrong has ably assembled a program that will inflame the passions, satisfy intellectual curiosity, and offer a variety of vibrant sounds and pleasing melodies. There are two pieces of American music (one influenced by jazz, the other by imaginative fancy), a mainstream Austrian classical work, two French pieces (one with Spanish seductiveness, the other celebrating the French Baroque), a Norwegian piece (with a nod to the German Baroque) and a Hungarian piano, wind, and string ensemble work of fervid extravagance. The seven compositions are set in six different instrumental combinations. There is something to please every taste and emotion.
The concert begins with American composer Julia Perry's jazz-inflected Prelude for Piano. Written while she was a junior in college, Perry's halting and unhurried ballad begins with heaviness and ascends to radiance. Ludwig van Beethoven's Classical-period Trio for Clarinet, Cello and Piano, Opus 11 provides tuneful melodies with hints at the disruptive qualities he would magnify as he transformed western music. The American Florence Price is represented with her Elfentanz (Dance of the Elves) for Viola and Piano, a charming and whimsical miniature with ragtime-inflection and heart-felt nostalgia. Maurice Ravel is represented by two works arranged for French horn and piano. Habanera weaves sensuous, seductive melodies over the piano's hypnotic dance rhythm while Rigaudon, from Le Tombeau de Couperin features bubbly energy surrounding a middle section of exquisite delicacy and intimate reflection.
Following intermission, Johan Halvorsen's Sarabande con variazioni (Thême de Händel), for Violin and Viola takes a simple Baroque tune and, over eleven variations, gradually builds through flashy virtuosity to a monumental conclusion approaching symphonic majesty. Concluding the program is a dazzling, hyper-romantic showpiece: Sextet for Violin, Viola, Cello, Horn, Clarinet and Piano, Op. 37 by Ernst von Dohnányi. A major force in Hungarian music as a pianist, composer, conductor, and administrator, Dohnányi was granted US citizenship following WWII and spent his last decades on the faculty of Florida State University. Conservative by nature, Dohnányi used preexisting forms and filled them to overflowing with lyricism, expansive sonic vistas, and sparkling wit. The Sextet is a unique, strong, and gripping work. Because of its unusual instrumentation it is under-represented in concert halls; do not miss the opportunity to hear this masterpiece!
Mr. Armstrong has assembled a stellar group of superb artists to perform this varied program: the legendary French hornist Philip Meyers was principal horn of the New York Philharmonic from 1980-2017, soloed with the orchestra every year of his tenure, and taught at the Juilliard School; Dominic Desautels, a graduate of the Université de Montréal, is principal clarinetist at the Canadian Opera Company, adjunct assistant professor of clarinet at the University of Toronto, and in frequent demand as a soloist and chamber musician; violist Beth Guterman Chu, a graduate of the New England Conservatory and Juilliard School, has been the St. Louis Symphony Orchestra principal viola since 2013, was a member of the Chamber Music Society of Lincoln Center, and is a frequent chamber music collaborator at music festivals across the country; cellist Alice Yoo holds degrees from the
New England Conservatory, Royal Northern College of Music in Manchester, England, and the University of Southern California's Thornton School of Music, is the Co-founder and Co-Artistic director of the Denver Chamber Music Festival, a faculty member at Colorado State University and the University of Denver's Lamont School of Music, and performs in numerous chamber music festivals, including Marlboro/Musicians from Marlboro Tours, Ravinia, Yellow Barn, Olympic, and Moab Music Festivals; violinist Arnaud Sussmann was trained at the Conservatoire de Paris and the Juilliard School, won a 2009 Avery Fisher Career Grant, has been a member of the Chamber Music Society of Lincoln Center since 2006, and is respected worldwide as a soloist, recording artist and chamber musician. Minnesota’s Pioneer Press writes, “Sussmann has an old-school sound reminiscent of what you'll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener. His clear tone [is] a thing of awe-inspiring beauty, his phrasing spellbinding.” Hearing Artistic Director Andrew Armstrong on a regular basis has positioned series subscribers into eagerly anticipating his witty and unscripted stage remarks, brilliant pianism, and artistic intensity. Not one to sit on his laurels while away from Beaufort, Andy recently recorded a new solo album of American composers for release on an international label in 2023 and within days of the first USCB Chamber Music concert he will be off to Melbourne, Australia for a performance of the complete Beethoven Violin Sonatas with James Ehnes.
Support the Arts! Join us for USCB Chamber Music's impressive opening concert, enjoying brilliant performers bring to life skillfully crafted works of human invention. There are multiple ways to enjoy the concerts—In Person, Live-Stream and On-Demand. All virtual concerts are professionally produced, creating ideal viewing opportunities. On-Demand is accessible four days after the concert and available to view for three weeks. For concert & ticket info, go to www.uscbchambermusic.com or call 843-208-8246, Monday through Friday. The concert is Sunday, November 6, 5 pm at the USCB Center for the Arts; doors open at 4 pm.
Clarinetist Dominic Desautels Violinist Beth Guterman Chu
Hippie-Era Redux
Recently, I met a fellow who, in the course of our conversation, happened to mention that he’d been at Woodstock. At Woodstock? I thought. Then we must at least be of the same generation. Which we were. On the off chance you don’t know, Woodstock was a three-day music festival held in August of 1969 on Max Yasgur’s dairy farm in Bethel NY, about 40 miles southwest of the town of Woodstock. Thirty-two acts performed outdoors, despite off-and-on rain. Mud was knee-deep. Billed as “An Aquarian Exposition: 3 Days of Peace & Music,” the event attracted 400,000-plus people, one of the largest music festivals in history.
In 2004, Rolling Stone magazine listed it as number 19 of the 50 Moments That Changed the History of Rock and Roll. Woodstock was a seminal event for those of us – whether we attended or not – who were of an impressionable age during the 60s, i.e. hippies.
I’d never talked to anyone who’d actually been there. When I asked what in the world that remarkable occasion was like, he proceeded to describe the experience in great detail, as if I’d put a quarter in. By the time he finished, I felt as if I, too, had attended and kept thinking how good a hot shower would feel.
The original hippie era was pure music, flower power, Birkenstocks, granola, sunflower seeds, psychedelics and marijuana for some, and free love. I don’t know about anyone else, but at the time, I assumed that the world was changing into one in which everyone would love and appreciate everyone else. You know, “Peace, brother!” Turned out that the Vietnam War, successive conflicts, politics, et al, brought that idealistic scenario screeching to a halt in one way or another.
Years have passed since that time, and those who in the 60’s embraced nonconformity at their core have grown up, found work in the world; acquired cars, living quarters, and televisions; married or not, had children and grandchildren, paid taxes, and perhaps by now, joined AARP. Chances are good that they never thought about having to deal with transition issues, such as divorce, empty nest syndrome, relocation, retirement, and that bugaboo that no one can escape as the years go by, aging.
So what’s a hippie to do?
Turns out that author Margaret Nash (margaretnashcoach.com) has a few suggestions. Author of the Hippie-at-Heart Self-Help Series, this prolific writer grew up in Alabama in the “tempestuous ‘60’s”, so she knows the territory. Now a resident of San Miguel de Allende – an alternative, slightly crazy, artistic haven in the mountains of central Mexico – Nash leads seminars, has been an NLP-based life coach (Neuro-linguistic programming) for 20-plus years, and admits to a lifelong interest in all things esoteric and whacky. In other words, this woman embraced “hippiedom” back when and still travels to a different drummer. But she has creds. And offers pretty darn practical info.
The first book in her self-help series, Rebellious Aging: A Self-Help Guide for the Old Hippie-at-Heart leads the reader through maneuvering life challenges and changes while keeping your sanity intact. This wise, funny woman helps reader discover new ways to move on to the next stage of life with the same pioneering spirit you had in the ‘60’s, offering suggestions as to how to grow older and enjoy the process.
“Are you looking for alternative ways to age that are different from the mainstream, (those) that are fun and relevant?” she asks, “At heart do you still yearn for the nonconformist life?”
Titled “Time, Time, Time, See What’s Become of Me,” Nash’s Introduction includes a hefty quote from Joseph Murphy, author of The Power of Your Subconscious Mind. I’m including it in its entirety to give you a taste of the direction this guide to aging offers and the positive choices available to you.
Says Murphy, “Don’t let the corporations, newspapers, or statistics hold a picture before you of old age, declining years, decreptitude, senility, and uselessness. Reject it, for it is a lie. Refused to be hypnotized by such propaganda. Affirm life – not death. Get a vision of yourself as happy, radiant, successful, serene, and powerful.”
Pure atta-girl and atta-boy. Be your own cheerleader, even if you were a hippie and never shook those pompoms!
Things happen that can shake unexpected rafters in your life – accidents, illness, et al – but as long as you embrace your sense of humor and retain a positive outlook, you’ll make the best of any situation you might find yourself in.
As the years slip by, I find that I’m giving myself more and more permission to be myself, whomever that may be on any given day. I remember how petrified I was while dressing up for my first boy-girl “mixer” in junior high. Shyness on steroids. Intuiting my terror, my mom offered what she believed to be a gem of advice. “Just be yourself,” she said. Then smiled and patted my arm. “You’ll be just fine.”
I’ll never forget thinking at the time, What in the world does that mean? And it’s taken years to figure that out. Not that I have that perfectly nailed at this point in my life, but certainly enough that I have a darn good idea of what works and what doesn’t, i.e. what makes me happy and what doesn’t. And I lean toward the former at all given opportunities.
Syndicated columnist, political activist, and author James Allen (Jim) Hightower (age 79) sums up the key to successful aging for folks who want to embrace their individuality and enjoy their later years as follows: “The opposite of courage is not cowardice, it’s conformity.”
Dust off your old Santana and Jimi Hendrix albums and crank ‘em up. Make my mother proud . . . Just be yourself.
WHOLLY HOLISTICS
by Katherine Tandy Brown
Katherine Tandy Brown has traveled the world as a freelance writer for 25 years. She teaches memoir, travel writing and writing practice in USCB’s OLLI Continuing Ed program and in her downtown cottage. A certified writing coach, she is penning her first novel, One to Go: An Equine Thriller. ktandybrown@gmail.com or (859) 312-6706
