Emerging urban life seen in Birmingham hotel

As I prepare for the fall semester, I am already thinking about possible field trips for this course. We have focused twice on how Tuscaloosa fits into the story of emerging urban life in America. Perhaps we will travel to Birmingham and discover how that city figures into the same narrative. One place to visit, if we do as much, is the Hampton Inn's Tutwiler Hotel, which was built in 1910 as a nine-story fancy apartment house. 

Below are photos I took at this hotel, which pays homage to Birmingham's historic past well into the 20th century.While the Civil Rights movement is often the narrative to which we return to make discoveries about Birmingham, perhaps it will be worthwhile to also think about a longer narrative that includes human rights issues alongside additional topics, among them gender, culture, housing, industrialization and architecture.

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.

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.

Dr. Richard Megraw on baseball and the "nineteenth century city"

pondering the nineteenth century urban space via the daily newspaper

My own research relies partly on looking at nineteenth century newspapers.

In tomorrow's class we will look at the ways in which baseball and the "metropolitan press" contributed to emerging urban life. In light of last Saturday's field trip, which was canceled, Dr. Richard Megraw will join us to lead a discussion on the former.

I will draw on my own knowledge of the sport to make connections to the metropolitan press. To be sure, I will try to approach the lecture with new eyes. Indeed, I was a newspaper journalist for the better part of a decade, having started as a high school intern before working as a staff copy editor, reporter and assistant editor for three newspapers once owned by Knight-Ridder (now The McClatchy Company), a large chain once based in my hometown. By 2000, I could see the decline of daily newspapers with the public's growing attention to the Internet and left the company. After working as a freelancer for a bit, I applied to graduate school. Eleven years later, I'm teaching and have more time to tell a story as an academic.  I sometimes miss the adrenaline rush from running after after a good story. I miss, too, having a copy editor (So does my husband who once jokingly said - I hope - of one of my academic typescripts, "If I never see this again, it won't be too soon").

During my newspaper days, I had no knowledge of how newspapers contributed to nineteenth century urban dwellers sharing a "common humanity," as Gunther Barth writes. On the basis of my own research on the migration of freedwomen and children to Ohio, it certainly appears true. In the pages of archival newspapers I've seen hints of a rapidly changing world. Take for example,  Jourdan Anderson, a former enslaved man and Dayton, OH-resident whose 1865 letter to his former master was printed in the New York Daily Tribune. Apparently his master wanted him to return to the South after the Civil War and work for him. Anderson worried about the impact of such a move on his two daughters Milly and Jane. He wanted them to be safe from sexual abuse. Anderson also wanted back-pay from his earlier days of working as an enslaved person.

I recall, too, reading about Cincinnati white man of means who published a notice alerting area merchants that he'd no longer be paying the bills of his wayward wife; the African American domestic worker who avoided conversation with the abolitionists  knocking on the door of the house in which she worked, lest her employer hear her doing as much(these visitors were in search of signatures for their cause; she was trying to keep her job); and numerous newspaper advertisements for school books, which evidently unveiled the growing access to education some people had by mid-century. It is a topic that the students and I have discussed. I've seen, too, many advertisements from people in search of property in an increasingly crowded Cincinnati.


In the years leading to the Civil War, and prior to the formation of ghettoes, African Americans were by and large dispersed throughout Cincinnati’s white residents, among them, Irish and German immigrants fleeing a famine and a failed revolution in their homelands, respectively. Between 1840 and 1850, Cincinnati’s population increased from 46,338 to 115,434. It was third behind only New York and New Orleans in volume of commerce.

How do such individuals from varying backgrounds find the "common humanity" via the metropolitan press?  How do issues like entertainment, leisure and language figure into this conversation from the perspective of readers? How does honesty figure in from the perspective of newspaper businesssmen? What practical purposes did newspapers serve? The students should be curious about the answers to these questions and  come to class prepared to have a productive conversation on these and other issues.

birmingham and baseball: a case study

Birmingham(1919), Courtesy of Perry Castaneda Library

On Saturday, the students and I will travel with Dr. Richard Megraw of UA's American Studies Department to Birmingham's Rickwood Field. They should be prepared to think deeply about how Birmingham serves as a case study for analyzing baseball's role in emerging urban life. 

When and where do we see Americans entering ballparks? 

Yes, how does watching a baseball game help us find meaning in a changing world on and off the field during the nineteenth century? 

For historian Gunther Barth, baseball figures into emerging city culture between 1830 and 1910, give or take a decade. 

Is baseball just an athletic contest or does it have other lessons to teach us about competition in a modern world? 

How do referees seem to take the place of public officials and priests? 

And since people have been playing ball since antiquity, what's significant about what's happening by the middle of the nineteenth century? 

Is the Roman emperor really the same as baseball entrepreneurs? How does the story of baseball in Birmingham compare to baseball's emergence in, say, New York, St. Louis or Pittsburgh?

With all of things we've learned to date, among them topics addressing gender, race and ethnicity, I hope the students come prepared to ask and offer answers to these and other questions. 

Meanwhile, check out an interview with Dr. Megraw here.

Rickwood Field, circa 1920s

on "seeing" cities and city people

As I prepare to teach this class again, I am more alert to how the word "city" and "urban" are used in everyday life. I increasingly find another occasion to learn something new about this space in the present and the past.

The photograph I took in Liverpool in 2011.

For example, I just returned from a second trip to a remote part of Virginia. While there, I read with new eyes a handwritten story by a man who lived in the antebellum house where I worked on the book  before me. In it, the man recalled his memories of growing up in his small town during the late nineteenth century.  Apparently, some city girls visited the town in question and said something along the lines of "What's the matter with you?" to the man, who was then a boy. The writer found this use of the word "matter" shocking. Folks in his more rural space used this word to refer to a purulent discharge from the eyes. A most trusted dictionary confirms such a usage. The writer himself used this incident to characterize urban dwellers as being both crude and fast people, traits many still associate with city folks (This is a topic that students enrolled in this course will doubtless get tired of hearing).

For now, as I return to my book in dear Tuscaloosa, after having driven part of the way back with my husband, I am reminded of how today's travelers automatically sense that cities are places in which we  are not only crude and fast, but places through which we literally move crudely and fast. Certainly I always knew we were approaching an urban area because the cars and trucks around us suddenly moved faster. Maybe the drivers just wanted to get somewhere more quickly or miss afternoon rush hour (the latter was once the case for my husband). Still, I find urban spaces, no matter how fast we moved through them, quite fascinating even if you never get off the highway.

I am now reminded of travel writer Somerset Maugham. His 1930 book  The Gentleman in the Parlour: A Record of a Journey from Rangoon to Haiphong addresses his journeys through the East. While in Thailand, he admitted that he took pleasure in feeling as many emotions as possible by simply sitting on a train. He said a depot in Pennsylvania held all the "mystery" seen in the massiveness of New York and  London. I shared this sentiment after taking a train from Oxford to Liverpool to see an exhibit in a museum. It was a characteristically rainy day in England. I stopped only to snap a photo of the harbor in Liverppool before dashing into the museum for two hours. I hurried back to the railway, content to "see" Liverpool from a distance.