slideshow of images from "Druid City: A Music Video" Premiere at Jemison Mansion

Here's a slideshow of photos from our December 3, 2014 premiere of "Druid City: A Music Video" featuring the music of local band Bible Study. Special thanks to Courtnee "Voni" Cook, a student enrolled in "The Nineteenth Century City" during the Fall 2014, for sharing these photos with us.

A Look at Tuscaloosa's Past with Katherine Richter

I am now prepping for the Spring 2015 semester while also resting. As promised, however, here are images from my recent visit to the Tuscaloosa County Preservation Society's  office in the basement of Jemison Mansion in Tuscaloosa, Alabama. There, Katherine Richter, Executive Director of the society, was kind enough to share some of the many archival documents in this building with me. I look forward to incorporating some of them into my teaching in the year ahead.

Project Runway All Stars and Old-New World London

Final grades have been submitted. I am unwinding in between preparing for the holidays and teaching two new courses for next semester. While watching Project Runway All-Stars tonight, mention was made of the ways in which London - old and new - could inspire outerwear. One designer mentioned how the physicality of the city served as inspiration for his outdoor coat. Hard to let go of ideas that informed this course. The "city," nineteenth century and otherwise, is truly everywhere.

Druid City...the actual video (finally!)

Finally. Here's the music video of the short doc/music video that premiered last night at Jemison Mansion. Special thanks to everyone who made the event a great one.  Steve Davis, Bryce Hospital Historian, was among the guests. One aside: I stopped by Jemison this morning to pick up the student photographs offered in the silent auction and was happy to visit the Tuscaloosa County Preservation Society, which is on the bottom floor. Katherine Richter, Director of TCPS, shared numerous photos and maps of old Tuscaloosa with me. I already know what I want next year's The Nineteenth Century City class to document (visually or otherwise): the history of women in education here in Tuscaloosa! Speaking of which, stay tuned here for photographs of the images I took this morning while hanging out with Katherine. What a great week. Thanks, Tim Higgins (and Ian Crawford) of Jemison, for everything.

student music video premieres today

 

Today is the big day. The "world premiere" of the students' music video featuring the music of Bible Study, a local band, happens at 5:30-6:30pm at Jemison Mansion, 1305 Greensboro Ave. in Tuscaloosa. The video is couched inside a short documentary about the students' journey toward discovering the tensions between emerging urban life in America (and Tuscaloosa) and this country's more rural past. The photograph pictured here was taken by student Caleb McCants and is one of dozens the students uploaded to a Dropbox account for consideration in the video. Here, we see the students and I walking in front of a downtown church last month, rediscovering in-person Tuscaloosa's urban beginnings in the nineteenth century. 

Please come out and join us. Dr. Robert Mellown will be our guest speaker and a silent auction will be held.

three days until the music video premiere

Still of clock in downtown Tuscaloosa

Still of student Rae Mann in Edelweiss, a local coffee shop.

Now that we've won the Iron Bowl against Auburn, we can turn toward completing the rest of the school year in fine fashion. The "world premiere" of the students' music video is just three days away.   It features not only the video itself, but a documentary of the students "discovering" the nineteenth century city in Tuscaloosa. Here are two still photographs from the project, which runs about 13 minutes.

The premiere happens 5:30-6:30 pm this Wednesday, December 3, at Jemison Mansion, 1305 Greensboro Avenue in Tuscaloosa. Dr. Robert Mellown, Associate Professor Emeritus of Art History at the University of Alabama, will be our guest speaker. There will be a silent auction of the students'  photography and refreshments.

Tim Higgins and Emily Dozier-Ewell, two members of the band Bible Study (whose music is featured in the video), will be present. Kori Hensell, composer of "Druid City," the song around which the video and documentary are deployed, will be there in spirit as she is now in Fairbanks, Alaska, pursuing an MFA. Talk about tensions between the frontier and the city!

Meanwhile, the students should also be studying for their final exam, which will take place December 9. Until then, Roll Tide!

Student radio and newspaper interviews went well; but before all that Bryce historian enlightens

Jess Leonard, Voni Cook and Emily Chadwell on air on 90.7 today.

Crimson & White writer Nick Privatera, far right, listens during his interview.

The class poses with the music video poster before the 90.7 radio interview.

Today was one of those days a professor could only dream of. The students really made me proud as they shared their experiences in this course with 90.7, The Voice, a University of Alabama radio program, and next, with a contributing writer for the Crimson & Tide, the University's school newspaper. All this after Steve Davis, Bryce Hospital historian, did a wonderful lecture on that historic facility, which is currently being restored. Thank you, Mr. Davis, for visiting our class today.

And thank you, Rich Robinson for inviting us to be on the air (tweet #druidcityshow, everyone!) Thanks also to Nick Privatera for not being entirely overwhelmed as you interviewed us. Please, everyone, come out and support the "world premiere" of our music video with music by Bible Study at 5:30-6:30 pm December 3 at Jemison Mansion, 1305 Greensboro Ave. Dr. Robert Mellown, Associate Professor Emeritus of Art History, will be our guest speaker and Davis has promised to try to make it as well. Meanwhile, Roll Tide!

Bryce historian visits our class today

Certain portions of UA's Bryce Hospital are being restored.

Today Steve Davis, long-time historian for Bryce Hospital, will visit our class before we head over to the University's radio station for an interview about our December 3 music video "world premier."

I'd hoped that the students would have a chance to visit Bryce, which opened in 1861, before the semester ended. But it is presently undergoing repair following its recent transfer to the University. At least Davis can share with us some of the things he might have shared if we had been able to see it up close.

Almost a year ago, Davis kindly gave me and Dr. John Beeler of the History Department a tour of this facility, which sits on UA's campus. I can still remember standing in the dome, seeing far over into Northport and beyond, wondering what it was like the day the Union soldiers arrived to torch the campus in April 1865. I could see the President's Mansion from the dome and am not surprised that, as the story goes, the wife of the University's then-president descended the narrow corridor of stairs from that very room and high-tailed it across campus to save the mansion. As I prepare to teach the Civil War in my "American Civilization to 1865" survey class, I wonder what it must have felt like for the enslaved people in the area to know that they would soon be "free."

Bryce's history goes beyond the antebellum period. In fact, it offers opportunities to keep learning about leisure activities in an urbanizing world. The students are aware that as Americans began to work by a clock and not the sun, they made time to also play. Some attended baseball games. Some went to vaudeville houses. In the opening decades of the twentieth century, some listened to the radio and went to the movies.

During last year's tour, Davis showed us a theatre in Bryce where first-run movies were shown. Indeed, if you wanted to see a recently-released motion picture at the turn of the century, lucky Tuscaloosans  may have first seen it at Bryce. As I walked around the theatre and its peeling walls, I recall it reminded me of the theatre in my elementary school in Miami, although with fancier accents.

Author Harriet Beecher Stowe

I am personally looking forward to Davis' talk because we recently read about how Clarence King, the U.S. geologist who mapped the West for the U.S. government, had a nervous breakdown. Also, the students in my survey class are presently learning about how Harriet Beecher Stowe, author of the 1852 Uncle Tom's Cabin that Abraham Lincoln once quipped "started" the war,  once suffered from "melancholia." So did her husband. According to Jean Fritz, author of Harriet Beecher and the Beecher Preachers, which my survey class is reading, one antebellum treatment for depression was taking cold baths at resorts. I welcome learning more about mental health during the nineteenth century and how people who faced such challenges were treated at Bryce.

Perhaps Davis will also share more about Charles Kilgore, the Bryce engineer who once lived in a house near the hospital's campus. Earlier this semester, the students and I visited the former site of this house, which opened the door to co-ed housing at UA.

On a radio interview and History and Hollywood

Tomorrow around 4 pm, the students in this course will be live on the air at the University of Alabama's radio station, discussing the upcoming "world premiere" of their music video featuring music by Bible Study at 5:30 pm December 3 at Jemison Mansion (UA Art History Emeritus Dr. Robert Mellown will be our guest speaker). Check them out tomorrow if you can by visiting 90.7.

On other fronts...as the semester draws to a close, I thought I’d take one last opportunity to share with you some of the thoughts of the students enrolled in this class. While we are still concerned with emerging urban life in America during the nineteenth century, I have challenged them to see how some of the issues we’ve addressed have across-time resonances.

During  two class meetings in the past two weeks, I did as much by asking them to look at two motion pictures. One is the 2013 documentary Muscle Shoals, which explores all of the great music that came out of one Alabama town as white and black bodies came together in a music studio, particularly during the late 1960s and early 1970s. I’d earlier invited them to see  the 1991 film The Commitments as a means of continuing to explore the cross-fertilization of music and cultures, but this time with working class white Dublin, Ireland front and center. But given that we had just ended Martha Sandweiss’ study on Clarence King, a nineteenth century geologist who is best known for having mapped the West for the U.S. government than for having passed as “black” in order to marry an African American woman after the Civil War, I figured it might be worthwhile (and risky) to pick another film, maybe one that pushed us to think about nationality, urban life, labor and race, but also secrets.

The students took took the bait and watched the 1996 motion picture Secrets & Lies, which concerns a black British professional woman’s  discovery that her birth mom, a factory worker, who had earlier given her up for adoption was white.  In this case, London was in the backdrop. Her half-sister, also white, is a street sweeper.

Regarding all three movies, I was quite concerned about how the “city” functions in terms of how certain bodies come together and part and how ideas about nationality and race and even gender can teach us something we hadn’t thought about it earlier when we were solely concentrated on urban life in America before the turn of the century.

 No matter the quality of their participation, or whether they participated at all, I want to thank the students for being open to this exercise, which is the sort that might be more fitting for a graduate class. I think they did pretty good. See excerpts from their short reflections on the “History and Hollywood” hand-out below (I want to thank my colleague Jimmy Mixson for sharing all of these prompts, which he uses in his course on medieval history).

While continuing to think deeply about the urban space in a maturing America, they were pushed to consider how a movie captures via story lines music, lighting, setting, costume, dialogues some of the things we’ve discussed including urbanization, women in public spaces in an urbanizing world, class and racial politics. Here are excerpts from the students’ replies to Secrets & Lies:

Caroline: In Secrets & Lies, the role and struggles of women can be seen through the different narratives. One woman struggles to enjoy her mundane housework; another woman experiences personal shame of coming face to face with her decision to give up her child for adoption; one woman is shocked at the realization that her birth mother is in fact white; and another young woman with “unladylike” manners [is a street sweeper] and doesn’t have much motivation to broader her horizons. 

This movie’s plot correlates well with Clarence King’s story. It shows that it is in fact not unusual to have a white or black relatives without physically looking like it...Class differences can be seen in this film [and Muscle Shoals].   In Muscle Shoals, it is seen with successful city people come to a simple rural part of Alabama. In Secrets & Lies, it is seen in the different professions of the newly discovered sisters. While one sister is an optometrist, another is a [street sweeper].
Similarities between the mother of the two sister and Clarence King can be made. The mother had a dark past that she probably tried to hide from her family and King deceived Ada Copeland every day …in order to keep them  both safe.

Wayne: The mother [who gave away her child years earlier] lives in a lower class area of London….Her brother doesn’t visit often because his wife doesn’t like [his sister]…The [entire family] has issues….The only one who was able to face the consequences of their decision was the adopted child. The racial and social separation within one family all draw them together towards the end.

Voni : Shelter is a common way in which we see city values emerge. [It] narrates who can afford certain luxuries.

Devon: The lighting [in Secrets & Lies] is kind of dark, but I think that is because of English weather.

Jasmine: When the [social worker] asked the mixed [race] woman about her childhood, I felt like she [revealed] the fact that she was [in fact] mixed and how she [herself] felt about it.

Here are the students’ replies to Muscle Shoals:

Rae: I grew up mere miles ...from Muscle Shoals. I think we always expect[ed] this deep cultural/musical development from this area. I would love to know what influenced the great musicians to produce this music. Was it because of rural influences that so greatly differed from the rural space?... The [music] studio [has resonances with] the drive that we see in people in the urban space. This drive to develop something, to succeed, to survive and to be something different. This movie truly gives us a look at what the “common humanity” that music has …for an entire generation of artists. Music that flowed from Muscle Shoals was able to transcend race and class in the 60s and 70s in Alabama and the world…The filmmaker juxtaposed a vivid rural panorama with short clips of industry, transportation, technology and natural resources. [These things] helped drive urbanization in the nineteenth century and was influencing an area [that was] not so urban.

Caroline: In Muscle Shoals, many aspects of urbanization were depicted. We get to see how women in public, especially strong women like Etta James and Aretha Franklin, was more widely accepted and even admired [unlike in the nineteenth century]. These women had a major impact on the music industry…The relationships between the black and white musicians [was an] incredible improvement [from the past]. The artists didn’t let the struggle between their races get in the way of what they were trying to make…The filmmakers were very deliberate with their portrayals of Muscle Shoals. After a big name artist or producer would talk about their incredible soul and magic in the town, the filmmaker [chose] to depict the stillness and natural beauty of Muscle Shoals. I think this was done to display how ironic it must have been to those performers that a place like this could create such a phenomenon.

Jeff: The music that came from...Muscle Shoals [was] some of the greatest hits [and] should forever be considered some of the greatest music because it came from the heart....It was music that moved...millions around the world.

Wayne: The movie notes how soulful rivers seem to develop near rivers and "seems to come out of the mud." Musically, the film uses long, sorrowful guitar chords and also folk style music during interviews. Yet, the music highlighted in the film is funk, rock 'n roll and soul music. The rock 'n roll and soul music played an important role in urban areas because it allowed people from different ethnic and cultural backgrounds to develop a sense of unity [as they] became interested in new music. However, the music that helped urban [people] was produced in an area with high racial tension and by men who considered themselves to be "country folk."

Devon: The people who wanted to record  or play with the band from Muscle Shoals all expected them to be black. Everyone seemed to think that only certain types of people could play that type of music. However, everyone who worked there did so because of their passion for music.

Ben: I wished the film discussed what happened to Muscle Shoals as a music hub as not many hits come from it anymore. Was there an event or simply the change [in] popular culture away from funk and soul [that contributed to the decline]?

Jasmine: The scene showing the large bridges and dams as well as the big power plant and train shows urbanization in Muscle Shoals.

Finally, the students were also asked to share the unanswered questions that a particular film left them with and tell me whether they think film is an appropriate medium for teaching history (This issue is extremely important to me. I noticed when I used 1940s and 1950s films about America and even Europe's urban and frontier past in last year's class, the students with few exceptions - such as the time I showed  Bend of the River  starring James Stewart and Rock Hudson or Little Old New York starring Alice Daye - seemed bored. This time, more of them paid more attention as I cautiously used more recent films as teaching tools).

On the issue of whether film is an appropriate medium for teaching history, here's what some of them had to say:

Ben: I’d say [film] is a very good tool for anything from American history, music history or cultural history.

Emily: Films are never perfect. They don’t always apply perfectly to a lesson. They sometimes strive from accuracy for a good story.

Voni:  Film allows for a more interactive way of learning especially for visual learners. The disadvantages of film, like any media, that the creator has an objective they are trying to portray so we must extract the history from that.  

Undre: Film produces a teaching experience that can be interactive. This interactive lesson could come from pausing the video and discussing how it relates to the topic of the class. Disadvantages of using film could be that lesson valuable to the curriculum are over-kill [for]  students paying attention to the wrong elements of the movie. Another disadvantage can come from using non-biased films to teach a biased lesson.

Jasmine: The film [Muscle Shoals] is great for showing the emerging urban life in Alabama. It is a virtual time line not only covering music, but it also covers what is going on in the world outside of music (for example, the clip about Martin Luther King Jr. and clips of the segregation at the University of Alabama).

Wayne: I am a visual learner. I enjoy seeing images of urban areas and visually seeing personal expressions of racial and cultural situations....Muscle Shoals [in particular] is very useful as a medium for teaching history. Its advantages are that it is able to [present] American life outside the studio while also providing entertaining songs that most can sing along to...[The music] studio presented was a great example of the great [things] that can happen when open-mindness is allowed.

Rae: Film does a great job of illustrating history in a way textbooks can't. However, film can skew history or present it very one-sided. 

Jeff: [Film] is [an] appropriate medium because it is...entertaining. [But] sometimes it doesn't portray the entire history; just what [the filmmakers] want to show us.

pushing ourselves to make connections over and over again

As we barrel toward the end of the semester, the students have a choice to read an excerpt from one of two books: Miss Anne in Harlem: The White Women of the Black Renaissance by Carla Kaplan or Americanah by Chimamanda Ngozi Adiche. While both titles seem odd for a course on the "nineteenth century city," here is where the tire really hits the road. In the same manner that the students are being pushed to see "emerging city life" in the physical space of Tuscaloosa, they will be challenged to do the same via these two readings. Along the way, they will return to ideas they have learned this semester.

Miss Anne in Harlem will open the door for them to return to the idea of the "public feminine," or the ways that women began to politically inhabit spaces outside the home. But this time they will do as much in the context of white women in Harlem in the opening decades of the 20th century.  Among the women who venture to this space to partake in the black arts scene are British heiress Nancy Cunard and ex-pat Sylvia Beach, who once owned Shakespeare & Company, a bookstore in Paris and published James Joyce' Ulysses.

Fast forward to Americanah, which finds a Nigerian female college student returning "home," but not before commenting on all that she heard, saw and experienced in America. Think of her as a counterpart of sorts to Frances Trollope, the Englishwoman who failed at opening a bazaar in antebellum Cincinnati, but did well at writing a book in 1832 about Americans' bad manners. 

In both books, race, class and gender are still before us. Why? It's worth thinking about why such a conversation matters because they inform how people inhabit the public space today. Also, both books should push us to wonder about what it really means to be "American" across time, or how does the American city differ from other non-U.S. cities that found the likes of Beach, Cunard and Trollope, but also Ifemelu, the well-traveled protagonist in Americanah.

As we turn to the last edit of our music video, we will ponder, too, how the rural space is never entirely left behind even in a world increasingly defined by urban life. Why?

I want see the students to keep pushing themselves to make linkages across time. Where do we see the city and the many things that announce urban life in the characters and real people in these two readings? Where do we see the  "city people" that Gunther Barth describes, ones who lived in the emerging urban space between 1830 and 1910, give or take a decade?

Finally, next week I am pleased to announce that Steve Davis, historian for Bryce Hospital, will visit our class. The students' earlier learned about Bryce Hospital after visiting the former site of the Kilgore House, which once housed Charles Kilgore, a Bryce engineer and his family. The house, which was demolished last year, was the site at the University of Alabama to house female students. How do we insert mental health into the story of a modernizing world? After learning about the nervous breakdown of U.S. geologist Clarence King in Martha Sandweiss' study in last week's reading, it will be great to have more context via Mr. Davis.

an elusive dress owner parts curtain on Gilded Age

Elsie Whelen Goelet Clews

Today I saw an interesting blog entry on the search for the owner of several dresses in the Gilded Age collection of the Costume and Textiles Collection at The Museum of the City of New York. Phyllis Magidson, Curator of Costumes at the museum, and others, often mulled over the "Elsie" whose trousseau lingerie was unidentified in the collection for  quite some time. Turns out the owner may have been none other than Else Whelen Goelet Clews, a turn of the century debutante in New York. They decided as much when they studied a 1906 summer white cotton dress on a mannequin. A window on Clews' turn of the century life was thus opened.

The topic resonated because the students enrolled in "The Nineteenth Century City" at the University of Alabama are presently attentive to the Gilded Age, which, generally speaking, marked a historic moment of wealth for some, although not all, in the United States. Indeed, the very word "gilded" references the veneer, or gold covering on some of the more grim social realities. A lot of those realities, of course, were in urban spaces, as the nineteenth century came to a close.We need only remember the photographs of Jacob Riis.  Mark Twain tackled this issue in his 1873  The Gilded Age: A Tale of Today, which is a satire on problems during this period no matter the wealth in view. Yes, the term "gilded age" can be traced to Twain.

As we complete our look at Clarence King and Ada Copeland King in Martha Sandweiss'  study on love in the Gilded Age, we can see that things are not always as them seem. From the looks of  the blog posting on Clews  and our recent look at the lives of those in the high life via mid-nineteenth century hairdresser Eliza Potter's memoir, mystery and beauty often accompanies many an urban tale.

Elsie Whelen may have worn this 1906 dress.

As Phyllis Magidson writes, the twice-married Clews, was an intriguing woman. It is worth it to juxtapose her life experiences against what we have learned thus far about the lives of the rich and famous. For example, Magidson mentions Newport, Rhode Island, a favorite resort town that was not unfamiliar to either Clarence King or Eliza Potter. Clews apparently met her marine painter and sculptor Henry Clews, Jr., her second husband, there while attending a dog show. How do we find meaning in her life when we consider it alongside the many things we are learning about the Gilded Age in Sandweiss study? Is it possible to see how the issue of money, or class, has across time and across space resonances especially when we turn to The Commitments, a 1991 motion picture, which takes us to working class Dublin in another century?

How does the idea of class change when we step outside the Gilded Age and the United States? Is race still front and center? We should be prepared to have a thoughtful discussion on this issue tomorrow.

To learn more about the Costume Collection at the City Museum, read more on Magidson's blog. Meanwhile, here is a photo that Emily Chadwell, one student in this course, took last week at the Tuscaloosa County Preservation Society's Annual Banquet.

Voni Cook, AJ Estep, Will Jones, Emily Chadwell and I pose with Dr. Rachel Stephens.

the poster for our December 3 Music Video "World Premiere"

I was so happy to learn that the students are okay with using the above image by Caleb McCants, a student in the class, for the poster promoting our music video (the Faculty Resource Center's design staff did an amazing job on this). They all took terrific photographs unveiling the tensions between America's (and Tuscaloosa's) urban and rural past and present. Some of those images will be displayed December 3 at Jemison Mansion during a small reception before the video launch. Again, we thank Ian Crawford at Jemison for this opportunity. And of course, we thank Bible Study, a local band, for allowing us to visually interpret their wonderful tune "Druid City."

Jasmine Wells, a Public Relations major at UA (and the person unknowingly featured in the photo which was taken during our recent downtown tour and creates room to push our thinking about the "public feminine" as defined by Gunther Barth and others), is helping with publicity. She even made a Facebook page. Ben Smith, who works in technology for the Athletic Department, has threatened to remaster my edited video. I welcome his skills.

On other fronts, yesterday we discussed Clarence King and Ada Copeland's relationship in New York City during the Gilded Age as presented in Martha Sandweiss' study. We pondered black-white interactions in and outside of the urban space by watching a good part of Muscle Shoals, a documentary highlighting the white musicians who played behind many African American singers in the 1960s and early 1970s. Next week, we will continue this conversation by bringing the urban space into fuller view although in the context of Dublin, Ireland, via the 1991 Alan Parker film The Commitments.

I am vigilant about historicizing black-white encounters and pushing the students to do the same. What happened in 19th century New York that couldn't or could happen in 1960s rural Alabama or 1980s Dublin (or 1863 New York for that matter) when it comes to how black and white bodies come together - and part?

Finally, I just received the best news. Dr. Robert Mellown, a recently retired, but ever-busy UA Professor of Art History will be our guest speaker at the Dec. 3 music video launch at Jemison Mansion. We are truly honored to hear him discuss his efforts to aid the restoration of local structures including Jemison and Bryce Hospital. He will sign copies of The University of Alabama: A Guide to the Campus and Its Architecture (University of Alabama Press, 2013) at this event.

trailer for class music video now ready

Five students and I as well as Dr. John Beeler attended the Tuscaloosa County Preservation Society's Annual Award Banquet last night. Dr. Rachel Stephens of the University of Alabama's Department of Art and Art History and I were honored as Educators of the Year. Special thanks to Katherine Richter, Ian Crawford and Tim Higgins and so many others present for making us feel welcomed.

It was wonderful seeing A.J. Estep, a student in last year's class, join Emily Chadwell, Voni Cook, Will Jones and Ben Smith, four students from this year's class, at this event. Estep's classmates created the documentary "Tuscaloosa: The Nineteenth Century City"  and this this year's students are making a music video. As true last year, Tuscaloosa is in the starring role.

My students know I readily admit that my interest in Tuscaloosa's role in emerging urban life is best pursued with them by my side as the trailer for the class's music video, which is presented in this posting, demonstrates. See the students "discovering" Tuscaloosa's landscape and pushing their thinking about this city's urban and rural past and present - and their own. The music video features the music of Bible Study, a local band. It premieres at 5:30 December 3 at Jemison Mansion, 1305 Greensboro Avenue in Tuscaloosa. Light snacks and beverages and a student art exhibition will be followed by a Q & A.

Tomorrow we will continue exploring Clarence King's life and that of his wife Ada Copeland King in New York City during the Gilded Age. King was a geologist for the U.S. Geological Society who "passed" as an African American in order to marry a woman who was a born enslaved. I am greatly interested in how the students are able to insert King and his wife into the story of emerging urban life.  It is worth it, too, to think about King's interest in "slumming," (i.e. visiting African American neighborhoods; in his case lower Manhattan).

His quiet excursions appears to be an across-time phenomenon. Certainly over the Fall Break I read with great interest a story in Vanity Fair about the American-born George Whitman who opened the famous Shakespeare and Company bookstore in Paris in 1951. Prominent members of the Harlem Renaissance and the Beat Generation were among the writers who frequented the shop, which is now run by his daughter. 

As it turns out - according to the article at any rate - Whitman was born in New Jersey in 1913 and raised in Salem, Massachusetts. He spent four years trekking around North and South America (King might have been his nineteenth century counterpart up to a point). His curiosity about the world around him and perhaps those who are quite different from himself manifests in his interest in "urban back alleys." He shares such a desire  not only with King, but  with Carl Van Vechten, a white photographer-patron of the Harlem Renaissance. I think, too, about the women who appear in Carla Kaplan's recent study on 1920s Harlem (students in my graduate course will read excerpts from this book next Spring). Andy Warhol's friendship with Jean-Michel Basquiat also flirts in this direction.

At the risk of collapsing time too much, I have already asked the students to be curious about popular interest in black life and moreover, the ability of whites on both sides of the Atlantic to engage themselves in what generally surfaces as "black" music. As I asked them, what "work" does the "city" do in such encounters? Last week, I presented the 1991 Alan Parker film "The Commitments," which finds a white Irish band in Dublin playing 1960s R & B and the recently released documentary "Muscle Shoals," which unveils white musicians backing many African American greats in rural Alabama.

Muscle Shoals. Dublin. Harlem. Late nineteenth century and postwar race, class and gender dynamics. Let's come to class tomorrow ready to pull these connections apart, and if we are lucky, make some time to watch a bit of one or both movies. Thank you, Librarian Brett Spencer, of UA's Gorgas Library, who will soon be leaving for Penn State, for always ordering films and videos for this course and other courses. The History Department will miss you!

downtown Tuscaloosa field trip was amazing

The students listen to my digital lecture during our recent field trip.

The students and I had a good time visiting downtown Tuscaloosa this past Wednesday. We gathered footage for our music video featuring the sounds of local folk band Bible Study. The  "world premiere" of the  video will be held at 5:30 pm December 3 at Jemison Mansion in Tuscaloosa.

Also, on November 3, four students enrolled in this course this semester and one student enrolled last fall will accompany me and Dr. John Beeler to the Tuscaloosa County's Preservation Society's Annual Awards Banquet at Christ Episcopal Church (this church was featured in "Tuscaloosa: The Nineteenth Century City," the final student project from last fall).

On Wednesday, we did a tour that featured this church among other sites (I recorded my lecture-tour on how signs of emerging urban life manifest in present-day Tuscaloosa the night before and uploaded it to Vimeo.com. Doing as much allowed the students to hear me while they walked, permitting me to capture footage of them along the way).

One aside: I just curated a couple of dozen photographs that the students have taken in and outside of Tuscaloosa. These images bring to mind some of the ideas and topics we have been discussing about emerging urban life. Some of these photographs will be on display at the December 3 event. For now, we thank Ian Crawford and Tim Higgins of Jemison  (and Bible Study) well as Katherine Richter, Director of the Tuscaloosa County Preservation Society, and finally, music critic/author  Ann Powers for their role in helping us document Tuscaloosa's starring role in nineteenth century urban history this fall! Roll Tide!

Next week, we turn to our final course reading. We will learn about the ways in which the experiences of  nineteenth century geologist Clarence King epitomize the across time tensions between urban life and the frontier. What new things can King's disdain for New York City and love for mapping the West for the U.S. government teach us? How do the Civil War, Gilded Age and rising Jim Crow practices expand our knowledge of urban life? Finally, how do race, gender and class aid our ability to find meaning in an industrializing America?

PS Music by the Junkyard Kings, another local band, was also considered for the video. We are desperately trying to help them get access to our university's new recording studio on the old Bryce Hospital property so they can make a demo. Their song "Roses" is as wonderful as Bible Study's "Druid City." Thank you, Louise Manos, for introducing us to this band.

students to visit downtown tuscaloosa

DePalma's was once a bank and Adrian's, a department store.

Tuscaloosa's Kress 5-10-25 Cent store opened in 1937.

The students and I will travel to downtown Tuscaloosa tomorrow and reflect on what we have learned about emerging life in America. Our attention to this subject has pushed us to think about a variety of topics including the arrival of department stores, leisure time and women in public spaces. We might think deeply about these developments as we insert Tuscaloosa into this narrative. The city was founded in 1819 and served as the state capital from 1826 to 1846. Its gradual rise as an important city in West Alabama coincides with the life of Cincinnati-based hairdresser Eliza Potter who traveled widely. Some of her travels took her as far as Europe, but also to New Orleans (although if memory serves, following her uncle's advice, this woman of mixed race  never entered Alabama). But what if she had? Given that she styled the hair of wealthy whites on both sides of the Atlantic, which occasions would have presented her an opportunity to do as much? How easily would Potter have walked around our downtown area, which has grown considerably over the years after some decades of decline when shoppers turned to McFarland Mall. It is worth it to think about such things as we walk by many buildings including the Bama Theatre, which opened in 1938. Though it is safely outside the window of emerging urban life (1820s to 1910, give or take a decade, according to historian Gunther Barth), this theatre allows us to see yet another example of how an increasingly modern world found people not only working, but also enjoying leisure moments first in vaudeville houses and later, motion picture theatres. One aside: while we are downtown, we will gather footage for our class project: a music video with Tuscaloosa in the starring role. Along the way, we will stop by Edelweiss, a German coffee shop.

revisiting Barth via an antebellum hairdresser

Cincinnati circa 1846, Courtesy Perry Castaneda Map Collection, University of Texas

Potter's memoir was published in 1859.

As we turn to Eliza Potter, an antebellum hairdresser of mixed race for next Wednesday's class, we should keep what we have learned about emerging urban life via Gunther Barth's important study in mind.

How does Potter adhere to Barth's shaping cities as a place where we can see a "common humanity"? Who are the "city people" she meets? What are her impressions of them? How might she have encountered the watermen in David Cecelski's study?

Are the people she meets experiencing the "civilizing process" required of urban dwellers? Is Potter experiencing this process? If so, how do we explain her willingness to "tell all" in a book that was seen as scandalous in her day?

Is she a part of the "feminine public" that found women shopping and working in department stores and attending or performing in shows in vaudeville houses before the century closed? Why or why not?

What do we make of her wanderlust, or her desire to see a "Western" world? What does she mean when she says this? What accounts for her restlessness? How do we situate her against ongoing debates favoring the frontier, or open spaces, against the crowded city. As we start thinking about the final exam, it is worth it to think about these debates and which historical actors and historians figure into them. A review of previous Powerpoints will certainly help in this regard.

In the meantime, we should come to class prepared to talk about the woman who loved to move through space, but also enjoyed her own home under her own vine and fig tree in a particular city. Which city?

pondering emerging urban life via department stores and vaudeville

Receipt from a turn of the century Tuscaloosa department store.

Tomorrow we will examine how department stores and vaudeville houses fit into emerging urban life in America. It will be the last time we turn to Gunther Barth's study of modern urban culture. Then again, maybe not. For sure, we will want to keep in mind so much of what we have learned over the past eight weeks and put it to good use as we read excerpts from Martha Sandweiss' examination of nineteenth century geologist Clarence King and the memoir of nineteenth century Cincinnati hairdresser Eliza Potter, among other readings.

For now, we may collectively wonder how the vaudeville house  allowed urban dwellers to see something about themselves onstage in the same way that the metropolitan press permitted the same group to do something similar. What did audience members see onstage? What made them laugh?

We may also reflect on more basic questions, among them: How did newspapers help department stores? Or why were vaudeville and department stores inviting spaces for women and children? 

Then again, questions that possibly lead to troubling conversations may have answers worth pursuing, too. Indeed, how does the diversity in department stores and vaudeville encounter the heterogeneous public to which Barth turns to describe nineteenth century American urban dwellers? 

Who enters these spaces? Who cannot? 

How did technology contribute to both developments becoming big business?

Turn of the century vaudeville sheet music.

Finally, what legacies did vaudeville and department stores leave us? It's worth it to think about such an idea. Today, so much entertainment comes through a smartphone or Netflix or Youtube. Shopping is done online or elsewhere (However, I do remember when 1960s and 1970s variety televisions were quite popular. I loved Hee Haw and any show featuring the Jackson Five including The Carol Burnett Show, which definitely builds on the foundation of vaudeville. I also remember when my mother shopped at stand-alone department stores like Burdines in downtown Miami in the 1970s. In time, we - like everyone else - headed to malls).

Burdines began as a Bartow, FL, dry goods store.

While we think over possible answers and even new questions, I invite you to take a look at two images from the University of Alabama's digitized Hoole Collection. The first: a 1914 receipt from from Tuscaloosa's Savage Department store. The store must have had quite a following as five years earlier, The Tuscaloosa News featured a store advertisement announcing the arrival of fall and winter hats, which were the "very latest" from New York and Paris. 

However, lest the "ladies of Tuscaloosa and West Alabama" thought the prices at Savage, which was located at 612-614 Greenburg Avenue, were out of reach, the store promised a shopper of modest means that she could have "a new style, nobby and attractive fall hat" at a "small cost."

Who were the patrons of this store owned by "J.A. Savage & Son?" Where did they wear such fancy hats? How were their lives different and similar to say the women described in bigger cities such as New York and Chicago?  While these are questions for which we have no likely answers, we might think them through just the same if for no other reason than the opportunity to once more situate Tuscaloosa into the narrative of emerging urban life.

Similarly, a search of the Hoole archive also turned up vaudeville sheet music composed in 1921 by Jeff Branen and Lloyd Evans (Seeing as Barth says emerging urban life is between the 1830s and 1920, give or take a decade, both primary sources are within range). 

Was this music in the household of a former Tuscaloosa resident or relative of a former resident? Was the music ever performed publicly? If so, where and for whom? 

Finally, why do things like baseball and vaudeville - which begin in cities - resonate with people who live in rural spaces; and vice versa; why are television shows about Alaska - Northern Exposure was a big favorite of mine during the 1990s - or the Great American Country network so popular to urban dwellers? Is this another instance when we can see how the frontier and countryside things are things for which we yearn no matter how "modern" and "urban" we become?