Summer-ending concert may become yearly event on Logan Martin Lake
Jason Rogoff and Jeff Thompson found the cure for the quarantined summer blues: an outdoor rock concert … during Labor Day weekend.
But it cannot be your normal concert.
This one has to be arranged in less than eight weeks; it has to feature a sought-after performer who just happens to be available because of pandemic cancellations; it has to provide seating that socially distances audience members attending by land and huge video screens visible to those attending by boat; it has to raise funds for two entities, and it has to be full of energy.
That concert – which was on Sept. 4 at Pell City Sports Complex on the shores of Logan Martin Lake – fulfilled all the requirements and quite possibly began an annual event.
For the concert, the Black Jacket Symphony performed the songs from the Queen album, A Night at the Opera, and featured the vocal talent of Marc Martel.
Martel provided some vocals for Bohemian Rhapsody, the biopic about Queen’s late lead singer Freddie Mercury, said Rogoff, director and producer of the Black Jacket Symphony.
Thompson, who is director of the Center for Education and Performing Arts (CEPA) in Pell City, said Rogoff approached him about an outdoor concert patterned after others that the Black Jacket Symphony had held in Birmingham.
For the Black Jacket Symphony, this would be a return visit to Pell City.
In February 2020, the Black Jacket Symphony performed Fleetwood Mac’s album, Rumours, in concert at CEPA and had scheduled Led Zeppelin IV for May. But COVID containment measures canceled Led Zeppelin IV.
When a pandemic evaporated Anita Bice’s art business and affected her creativity, she got … creative.
Normally in the spring of the year, the artist from Moody would be preparing for and attending arts festivals and outdoor shows in several states.
Educated at Samford University in Birmingham and American Academy of Art in Chicago, Anita operates an art production studio in her home. She has been an artist 35 years.
But stay-at-home orders in Alabama and elsewhere canceled one event after another.
“All my shows are being canceled. What do I do?,” she asked herself.
Because customers could not visit her studio store or attend the festivals, she would take her art to them. At times when she would have been at events, she would hold virtual art shows by digital means.
“Virtual reality is for real … yes. The surreal has become all too real!,” states her email introduction to her art show in lieu of the 2020 Panoply Arts Festival in Huntsville.
“A virtual art show is not as good as walking from booth to booth in the beautiful town of Fairhope, AL (along with 250,000 friends!) but it’s the best we can do in these crazy times,” she says in an email after cancellation of Fairhope Arts and Crafts Festival.
Not only did the shutdown affect her fine arts business, but it also curtailed demand for architectural renderings, which is Anita’s full-time job. “Right now, my architectural art is at a standstill,” she said.
This is not the first time she has experienced a standstill. When the housing construction rate plummeted during an economic downturn 15 years ago, Anita focused on fine arts. And that birthed the cottage industry that has since kept Anita, her daughter Dana, and Anita’s sister, Sharon Henderson of Pell City, quite busy.
Little more than a week before the coronavirus shutdown, Anita’s mother, Sara Smith, went into assisted living. The stay-home order, the fact that the family could not visit Mrs. Smith for a while and the sudden curtailment of both art businesses seemed to stymie Anita’s creativity.
A keyboardist at Bethel Baptist Church in Odenville, she did what she has done in anxious times in the past: she played piano. From that came the idea for a video featuring an angel painting she had done; Anita would provide the musical accompaniment.
On Facebook, the video received views from Canada, Italy, Australia, India and all across the United States. The response amazed Anita. Seeing how art with music touches people, she decided to do more videos.
With newfound creative energy, Anita analyzed the possibilities in art and charted her course. “God is in control,” regardless of how uncertain times may seem, she said.
She saw this time as an opportunity to learn, to brainstorm, to plan, to branch into other areas.
“The downtime has allowed me to learn some things,” such as new features on the keyboards she plays. “… It has given me more time to think about future artwork,” one of which is a series based on music. “That is in my mind and about to be on canvas,” she said.
Being confined also gave her a craving to paint coastal scenes. Those art pieces join her other popular series of florals, cotton and Pots n Pans. Her repertoire also includes wood panel art pieces, tea towels, note cards, mini fine arts on magnet, Christmas on burlap, digital art and photo restoration.
As she paints, she posts on Facebook, which allows viewers to see her latest work. Several creations sold immediately upon completion. Anita has made available free, downloadable line art of some of her originals that people can paint or color. Her Easter download was very well received. “I am going to continue to do that,” she said.
Discounts and free shipping have been offered through her website anitabiceart.com, and she featured a grab bag of “goodies” for Mother’s Day.
Daily, she connects with followers, potential customers and prospective students through her website, Facebook, Instagram and email. (Viewers also get updates about Rayder, her dog that sits like a meerkat and has his own Facebook following.)
Art instruction videos, workshops and seminars are other projects sparked by the isolation.
The basics of art, Photoshop and tips for entering art competitions are a few of the topics she wants to cover. “If people have time now, … what a great time to offer those,” she said of the videos.
Anita added, “(Offering) online classes may be one of the next steps in my growth.”
In her three decades of art, Anita has seen “feast or famine.”
Nonetheless, each phase for her has fostered new possibilities.
“There are so many directions to go!” she said.
EDITOR’S NOTE: Through June 10, 2020, Discover readers may get a 25-percent discount on items at anitabiceart.com. Use the coupon DISCOVER25.
Story by Elaine Hobson Miller Photos by Mike Callahan Submitted photos
One night, artist
Joy Varnell was up late watching television when she stumbled upon a show about
beach weddings. As the camera panned the California venue, she spotted an
artist among the guests, paint brush in hand and canvas on easel. Intrigued,
she recorded the show, then played it several more times. Realizing he was
painting the wedding scene, she said to herself, “I think I can do that.”
The problem was,
she didn’t know how to get started.
That issue was
soon resolved when she walked into the home of a friend/client and spotted a
wedding invitation on her kitchen counter. “The client mentioned that she
wanted to give the wedding couple something unique, and I suggested that I go
to the wedding and paint a picture,” Joy said. “She agreed, and when I got back
to my car, I thought, ‘What have I done?’ ”
What she did was
create a new twist in her artistic career, one that eventually caused her to
dump her day job and paint 40 hours a week. She attends weddings and
receptions, capturing special moments on canvas. After eight years, that twist
has resulted in more than 300 paintings, taken her and her husband all over the
United States, and made a lot of brides happy.
Joy started
drawing as a child and painting as a teenager. She studied interior designat
Southern Institute (which later became Phillips College) and worked as a
kitchen designer for 16 years before striking out on her own to do interior
design and faux finishes — a lot of faux finishes.
During all those
years, she was painting in her spare time and selling her work. Her husband,
Tim, kept encouraging her to spend more hours at her easel. Then came that
first wedding, a huge event at the Birmingham Museum of Art. She painted the
bridal couple descending the stairs for the reception, and in a newspaper
article about the wedding, the bridegroom mentioned that her painting was his
favorite gift. From there, her new venture took wings.
“This got bigger and bigger and just took over, and I quit
doing interior design,” she said. The transition from landscapes, pet portraits
and still life to painting people was a struggle at first, but Joy has a knack
for looking at something and being able to paint it. Soon, she was painting
weekdays and attending one or two weddings on the weekends. Now, it’s a full-time
business. “I did 48 paintings in 2018,” said Joy, who calls herself a
“live-event artist.”
Her modus operandi is to show up about three hours before the
event, usually wearing a black dress or pants, to start painting the
background. “The vendors usually dress in black, so I do, too,” she explained.
The most popular request is to capture the bride and groom’s first dance, so
she usually sets up at the reception. When the guests come in, she’s ready to
paint them into the scene. When the wedding couple appears, she adds them to
the painting.
She tries to get a good likeness of the bride and groom, but
not the people in the background. Most of them can be recognized by what
they’re wearing. She uses the term, “most,” but brides and their mothers are
much more specific than that. “The details of the people in the painting
are amazing,” said Pamela Rhodes, mother of a bride who married in Addis,
Louisiana. “Joy painted my daughter and son-in-law’s first dance as husband and
wife (Peyton and Sean Forestier). We are able to identify every person painted,
even the guy singing on the stage (my brother-in-law).”
“The Creator of the Universe certainly shines through Joy’s
hand,” gushed Jurrita Williams Louie of Dallas, Texas, who got
married in Tuscaloosa, her and her husband’s hometown. “She captured our first
dance as Mr. and Mrs. Calvin Louie as if God came down from heaven to earth to
do it. I can’t quite get over the detail and thoughtfulness with each stroke.”
Joy’s medium is acrylicsbecause they have no odor and
dry quickly. “I have to work very fast, so at least the couple can see
themselves before they leave,” she said. “People come up and say, ‘It looks
just like them,’ as if they are surprised. Well, that’s the point.” As for
mistakes, she just paints over them.
At the time she started, she found only four artists doing
what she does. Three were in California, one in New York. There are many more
now, but she believes the examples on her website, joyvarnellart.com, and her willingness to travel make her stand out. Her new business
has taken her to California, New York, Indiana, Florida, Louisiana and along
the Gulf Coast, Georgia and up and down the East Coast as well.
“I average about 12-15 weddings around the New Orleans area
and south Louisiana each year,” she said. One such event took place at the
restored art deco Lakefront Airport terminal in New Orleans. “It was my
daughter, Celeste’s, wedding to Don Jude,” said Claudine Hope’Perret. “It was
their first dance, and the painting shows amazing work and detail, even down to
their lit-up tennis shoes.”
No one has ever expressed a dislike of her paintings, though
she did have a girl ask her to re-do the groom’s hair once. “I strive very hard
to get what they want,” she said.
Tim, who is retired from the Norfolk Southern Railroad, goes
to the weddings with Joy and does most of the driving. Anything over 500 miles,
they fly. He packs up her paints and tools at home, unpacks and sets up at the
venue, then repacks. “He calls himself my roadie,” she said. “He’s my public
relations man, too. He mingles.”
Some of the brides are nervous, and others just very excited
and enjoying their day. The grooms are always nervous, and usually say, “Where
do you want me?” Kids just stand and stare.
The most common request she gets while painting is, “Will you
take 10 (or 20) pounds off me?” That often comes from the mother of the bride.
“Sometimes a woman will come up and talk to me because she’s afraid to talk to
Joy,” Tim said. “One woman asked if Joy would take off her stomach and give her
some boobs.” A man might ask her to cover a bald spot.
Sometimes Joy adds details that represent something
meaningful to the couple. Once, she painted a map rolled out to represent a
treasure hunt, because that’s how the groom led the bride to her ring and his
proposal. She has painted favorite dogs, relatives who couldn’t attend, even
dead relatives into the paintings. She has put cats in, too. “Very often the
venue will have one, and I’ll paint it peeping through a window,” she said.
Occasionally she’ll give the bride a brush and let her paint a few strokes of
her own.
She has painted outdoors in all types of weather, from
35-degree temperatures on New Year’s Eve to 95-degrees in the sun. She prefers
the reception to the ceremony because it’s less structured, and she gets to
interact with the people. “That’s part of what makes it fun,” she said.
One of her most memorable events was a Hindu wedding in
Indiana. The bride wanted her to paint the Seven Vows, but she didn’t know what
they were or where they occurred in the ceremony, which was four hours long.
She kept asking people, and no one seemed to know. Parts of the ceremony were
in English, parts in Hindi, and it turned out that the Seven Vows were at the
end. Tim found out and clued her in.
An outdoor wedding in Biloxi,Mississippi, was notable
because a storm came up and sent many guests inside. The bridal party remained
outside, and at the end of ceremony, the couple was framed by a rainbow.
There was one in Fort Deposit they’ll never forget, either,
but for a very different reason. “When we got out of the car there, we realized
we had left my paints at home,” Joy recalled. They carry an emergency set,
which has been upgraded as a result of that trip.
She hates having to tell people she is already booked for
their special date, and has painted two events in one day, as much as 90 miles
apart. One time, she got two separate bookings for the same wedding, at
Aldridge Gardens in Hoover. “The bride’s mother had contacted me and asked for
a painting of the couple’s first dance,” she said. “Then I got another request
for the same wedding. The bride wanted one of the father-daughter dance to give
to her parents. Neither knew about the other’s request.” She had two canvases
on her easel throughout the reception and kept swapping them back and forth so
neither party would know about the other. The backgrounds were the same. “The
bride’s mother began to catch on, but the dad never did,” Joy said. “I presented
both paintings at the end.”
Sometimes she finishes a painting on site but brings home
most of them so she can apply an art varnish as a protective sealer. Her studio
is a sunny 11’ x1 2’ room of her house, with a huge front-facing window. She
and Tim have lived in that house on a mountain top in Springville for 12 years,
surrounded by rock formations, trees and lots of wildlife. Deer and turkey
wander around the property, along with a family of foxes that they feed daily.
The house is filled with Joy’s still-life paintings, such as wine bottles so
real you want to grab one and pour a drink.
Jessica Silvers Posey of Maryland, who married Aaron Posey in
Laurel, Delaware, said Joy painted the most beautiful picture of the couple’s
first dance. “The details are phenomenal,” she said. “I relive that moment
every time I look at the painting. Everyone who walks past this painting in our
house can’t help but stop and stare.”
While mothers, parents, bridesmaids, co-workers and grooms
hire her to paint as a gift, most of the time it’s the brides who engage her
services.
She offers three standard sizes, 18” x 24”, 24” x 30” and 30”
x 36”. Clients may choose something larger but cannot choose whether the
finished product will be vertical or horizontal. “I decide that, depending upon
the venue and what I want to get in the painting,” Joy said. The largest one
she has done was 42” x 48”. Her prices start at $1,000, plus travel expenses if
she goes outside the Birmingham Metro area.
Although 99 percent of her business comes from weddings, she
has painted at Christmas parties, company anniversaries and fundraisers. One of
her corporate events was the opening of Nick Saban’s Mercedes-Benz dealership
on I-459. And yes, the coach was there.
Even though she doesn’t normally turn down an event unless
she is already booked, she did refuse to paint at one recent wedding. Her own
daughter was the bride, the wedding took place at Joy and Tim’s house, and Joy
wanted to relax as much as possible and enjoy it.
“I
will paint it later from photographs,” she said.
“This got bigger and bigger and just took
over, and I quit doing interior design,” she said. The transition from landscapes,
pet portraits and still life to painting people was a struggle at first, but
Joy has a knack for looking at something and being able to paint it. Soon, she
was painting weekdays and attending one or two weddings on the weekends. Now,
it’s a full-time
business. “I did 48
paintings in 2018,” said Joy, who
calls herself a “live-event
artist.”
Her modus operandi is to show up
about three hours before the event, usually wearing a black dress or pants, to
start painting the background. “The vendors usually dress in black, so I do, too,” she explained. The most popular
request is to capture the bride and groom’s first dance, so she usually
sets up at the reception. When the guests come in, she’s ready to paint them into the
scene. When the wedding couple appears, she adds them to the painting.
She tries to get a good likeness
of the bride and groom, but not the people in the background. Most of them can
be recognized by what they’re wearing. She uses the term, “most,” but brides and their mothers
are much more specific than that. “The details of the people in the
painting are amazing,” said Pamela Rhodes, mother of a bride who married in
Addis, Louisiana. “Joy painted my daughter and son-in-law’s first dance as husband and
wife (Peyton and Sean Forestier). We are able to identify every person painted,
even the guy singing on the stage (my brother-in-law).”
“The Creator of the Universe
certainly shines through Joy’s hand,” gushed Jurrita Williams Louie of Dallas, Texas, who got
married in Tuscaloosa, her and her husband’s hometown. “She captured our first dance as
Mr. and Mrs. Calvin Louie as if God came down from heaven to earth to do it. I
can’t
quite get over the detail and thoughtfulness with each stroke.”
Joy’s medium is acrylicsbecause
they have no odor and dry quickly. “I have to work very fast, so at
least the couple can see themselves before they leave,” she said. “People come up and say, ‘It looks just like them,’ as if they are surprised. Well,
that’s
the point.”
As for mistakes, she just paints over them.
At the time she started, she
found only four artists doing what she does. Three were in California, one in
New York. There are many more now, but she believes the examples on her
website, joyvarnellart.com, and her willingness to travel make her stand out. Her new business
has taken her to California, New York, Indiana, Florida, Louisiana and along
the Gulf Coast, Georgia and up and down the East Coast as well.
“I average about 12-15 weddings
around the New Orleans area and south Louisiana each year,” she said. One such event took place at the restored
art deco Lakefront Airport terminal in New Orleans. “It was my daughter, Celeste’s, wedding to Don Jude,” said Claudine Hope’Perret. “It was their first dance, and
the painting shows amazing work and detail, even down to their lit-up tennis
shoes.”
No one has ever expressed a
dislike of her paintings, though she did have a girl ask her to re-do the groom’s hair once. “I strive very hard to get what
they want,” she said.
Tim, who is retired from the
Norfolk Southern Railroad, goes to the weddings with Joy and does most of the
driving. Anything over 500 miles, they fly. He packs up her paints and tools at
home, unpacks and sets up at the venue, then repacks. “He calls himself my roadie,” she said. “He’s my public relations man, too. He mingles.”
Some of the brides are nervous,
and others just very excited and enjoying their day. The grooms are always
nervous, and usually say, “Where do you want me?” Kids just stand and stare.
The most common request she gets
while painting is, “Will you take 10 (or 20) pounds
off me?” That often comes from the
mother of the bride. “Sometimes a woman will come up
and talk to me because she’s afraid to talk to Joy,” Tim said. “One woman asked if Joy would
take off her stomach and give her some boobs.” A man might ask her to cover a
bald spot.
Sometimes Joy adds details that
represent something meaningful to the couple. Once, she painted a map rolled
out to represent a treasure hunt, because that’s how the groom led the bride to
her ring and his proposal. She has painted favorite dogs, relatives who couldn’t attend, even dead relatives into the paintings. She
has put cats in, too. “Very often the venue will have
one, and I’ll paint it peeping through a
window,” she said. Occasionally she’ll give the bride a brush and let her paint a few
strokes of her own.
She has painted outdoors in all
types of weather, from 35-degree temperatures on New Year’s Eve to 95-degrees in the sun. She prefers the
reception to the ceremony because it’s less structured, and she gets
to interact with the people. “That’s part of what makes it fun,” she said.
One of her most memorable events
was a Hindu wedding in Indiana. The bride wanted her to paint the Seven Vows,
but she didn’t know what they were or where
they occurred in the ceremony, which was four hours long. She kept asking
people, and no one seemed to know. Parts of the ceremony were in English, parts
in Hindi, and it turned out that the Seven Vows were at the end. Tim found out
and clued her in.
An outdoor wedding in Biloxi,Mississippi, was notable because a storm came up and sent many guests
inside. The bridal party remained outside, and at the end of ceremony, the
couple was framed by a rainbow.
There was one in Fort Deposit
they’ll never forget, either, but for
a very different reason. “When we got out of the car
there, we realized we had left my paints at home,” Joy recalled. They carry an emergency set, which has
been upgraded as a result of that trip.
She hates having to tell people
she is already booked for their special date, and has painted two events in one
day, as much as 90 miles apart. One time, she got two separate bookings for the
same wedding, at Aldridge Gardens in Hoover. “The bride’s mother had contacted me and asked for a painting of
the couple’s first dance,” she said. “Then I got another request for
the same wedding. The bride wanted one of the father-daughter dance to give to
her parents. Neither knew about the other’s request.” She had two canvases on her easel throughout the
reception and kept swapping them back and forth so neither party would know
about the other. The backgrounds were the same. “The bride’s mother began to catch on, but the dad never did,” Joy said. “I presented both paintings at
the end.”
Sometimes she finishes a
painting on site but brings home most of them so she can apply an art varnish
as a protective sealer. Her studio is a sunny 11’ x1 2’ room of her house, with a huge front-facing window.
She and Tim have lived in that house on a mountain top in Springville for 12
years, surrounded by rock formations, trees and lots of wildlife. Deer and
turkey wander around the property, along with a family of foxes that they feed
daily. The house is filled with Joy’s still-life paintings, such as
wine bottles so real you want to grab one and pour a drink.
Jessica Silvers Posey of Maryland,
who married Aaron Posey in Laurel, Delaware, said Joy painted the most
beautiful picture of the couple’s first dance. “The details are phenomenal,” she said. “I relive that moment every time
I look at the painting. Everyone who walks past this painting in our house can’t help but stop and stare.”
While mothers, parents,
bridesmaids, co-workers and grooms hire her to paint as a gift, most of the
time it’s the brides who engage her
services.
She offers three standard sizes,
18” x 24”, 24” x 30” and 30” x 36”. Clients may choose something larger but cannot
choose whether the finished product will be vertical or horizontal. “I decide that, depending upon the venue and what I
want to get in the painting,” Joy said. The largest one she
has done was 42” x 48”. Her prices start at $1,000, plus travel expenses if
she goes outside the Birmingham Metro area.
Although 99 percent of her
business comes from weddings, she has painted at Christmas parties, company
anniversaries and fundraisers. One of her corporate events was the opening of
Nick Saban’s Mercedes-Benz dealership on
I-459. And yes, the coach was there.
Even though she doesn’t normally turn down an event unless she is already
booked, she did refuse to paint at one recent wedding. Her own daughter was the
bride, the wedding took place at Joy and Tim’s house, and Joy wanted to relax
as much as possible and enjoy it.
“I will paint it later from photographs,” she said.
Organizer extraordinaire puts skills, compassion to work for good causes
Story by Elaine Hobson Miller Photos by Michael Callahan Submitted Photos
Doris
Munkus likes to organize. When she’s not organizing line dancers, senior
citizens and fundraisers, she turns to her own household.
“I
color-code everything,” she confesses, not the least bit sheepishly. “I have
five grandchildren, and I color-code their towels, their bedding, their chairs,
even their toothbrushes and drink cups. They can’t change them, either. I don’t
have to buy name tags at Christmas, I just wrap their gifts in their colors.”
Freud
might call her anal about organizing, but folks around Pell City call her
genius. Over the past six years, her organizational skills have helped raise
more than $150,000 for various charities and first responders in her community.
Her main claim to fame is Dancing With Our Stars. This annual
competition mimics television’s Dancing With The Stars, pairing
experienced dancers with local bankers, professionals, business owners, elected
and school officials, firefighters, police officers and others.
But
Doris’ organizational skills go back much further than the 2014 debut of DWOS,
however. “I organized a float to represent Dallas County for former Gov. Guy
Hunt’s inauguration
parade,” says Doris, who taught art in that county’s school system when she
lived in Selma. “I staged an Invention Convention for the school children, too.
I like to organize big things.”
In
2001 former Pell City Councilwoman and fellow church member Betty Turner picked
up on Doris’ organizational abilities and asked her to start an exercise class
at their church, Cropwell Baptist. “I couldn’t then because my mom lived with
me and I was taking care of her,” Doris recounts. “She died in 2002, so in 2003
I started that class. It was free and open to anyone.”
After seven or eight years, the exercising
hour got a little too long. Doris had taught line dancing as activities
director at the Pell City Senior Citizen Center in the late 1990s, so she
suggested adding that to the mix. Everyone involved agreed.
“We
did a half hour of exercise, half hour of line dancing for several years, then
we dropped the exercise portion and just did line dancing,” Doris explains. In
2009, the classmoved to Celebrations, and Doris added a$4
charge per class to cover the expenses of renting Celebrations, buying the
music, the signage, the DVD player and other incidentals. The rolls show 50
people, but the average attendance is about 30.
While
the class was still at Cropwell, the late Kathy Patterson was on the board of
the St. Clair County Relay for Life and asked whether Doris’ line dancers might
want to raise money for cancer research. “That first year we raised $2,000, and
dancing wasn’t even involved,” Doris says. True to form, shestarted
thinking bigger, and the class held sock hops the next year. People responded
well, so Melinda Williams, the American Cancer Society representative for St.
Clair and several other counties, suggested the dancers hold a Dancing With
Our Stars as another fundraiser.
“Our
first was February 14, 2014,” Doris says. “February seems to be best month, but
we have done it in March and April. In February of this year, we raised $23,111
and those numbers are still climbing because we’re selling DVDs from the show.”
Deserved rave reviews
Tim
Kurzejeski is a battalion
chief and one of four members of the Pell City Fire Department who line-danced
to the 1977 Bee Gees hit, Stayin’ Alive, at the first DWOS – in
full protective gear. He has nothing but praise for Doris and the DWOS
event.
“Thefire department here in Pell City has had a dance team at Dancing With
Our Stars every year since that first year,” Kurzejeski says. “Doris is
great. She’s very energetic, she just tries to do the best and most she can to
give back to the community. She’s very easy to work with, and it’s actually
fun.”
Dancing With Our Stars
no longer raises funds for Relay for Life. Instead, the money goes to a
different organization each year. In 2016 it benefitted Children’s Hospital of
Alabama, in 2017, it was the Pell City Fire Department, in 2018 the Pell City
Police Department, and this year, it was for the St. Clair County Sheriff’s
Department. Next year, DWOS will raise money for the St. Clair County
Children’s Advocacy Center. “The dancers and people who buy tickets respond
well to local charities,” Doris says. “People call us and ask us to raise money
for their charity, and we put them on a list. We check them out, and the entire
committee must agree on them. We’ll never do it for an individual, though.”
She
has a committee of eight line dancers who do much of the planning for the
event. “We already have the menu for next year,” she says. “Vickie Potter,
who’s in charge of the food, already has next year’s food court and theme. It
will be a hobo theme in 2020.”
Other
committee members include Donna McAlister, photo and technical coordinator;
Kathie Dunn; Kathy Hunter; Lavelle Willingham, treasurer; Martha Hill; Paulette
Israel and Sue Nickens, Silent Auction coordinators. Jeremy Gossett has been emcee, and Jamison Taylor has been the disc
jockey for the event since its inception. Griffin Harris is the tech guru who
sets up the text line the audience uses to vote for favorites. “It’s all run by
volunteers,” Doris says.
Recruiting
dancers was hard the first year, but it’s much easier now. In fact, people
often call Doris asking to participate. “It’s amazing how much talent we have
in this area,” she says. This year, 600 people paid $25 each to eat dinner and
watch the show at Celebrations, where all but one DWOS has been held.
Next year, it will move to the CEPA building, on the gym side, which holds
2,000 people. “There’s more parking space there, too,” Doris says.
St.
Clair County Sheriff Billy J.Murray readily admits that Doris is one of
two people he just can’t say “no” to. (The other is his wife.) “Doris has a
tremendous work ethic, and she’s very organized,” he says. “There’s always a
lot of stuff that comes up that someone has to handle in preparing for the
show, and she steps up to the role of managing the chaos.”
Although
dancing is out of his comfort zone, he has already signed up for next year
because Doris makes it so much fun. “I know how to be sheriff, but I don’t know
how to dance,” Murray says. “We (the sheriff’s department) had nearly 30 people
helping in some capacity this year, dancing, building props, helping with
costumes and makeup. I wouldn’t hesitate to partner with Doris and her line
dancers again.”
Joanna
Murphree, the executive assistant to the administrator of St.
Vincent’s St. Clair, has worked with Doris on DWOS for the past three
years, and she, too, has high praise for this wonder woman. “The hospital has
had a team in the group division,
the Dance Fevers
team,” she says. “Doris’s organizational skills are phenomenal. She’s pleasant to work
with, too, and very thorough.”
Destination: Worthy cause
When
she’s not working on DWOS, Dorisorganizes short, one day or
overnight trips for the St. Clair County Baptist Association as a volunteer, as
well as cruises and one- and two-week bus trips under the banner of her Pell City Cruisers. This sideline began in
1998, when she worked at the senior center. She charters the buses, plans the
itineraries and the meals, books the hotels, the whole shebang. “I did one
14-day bus trip where we flew into Las Vegas and toured 12-14 national parks in
nine states,” she says. She has done tours to Canada, Colorado, Montana, Utah, the Ark in Kentucky and the
Panama Canal Zone. She makes photo books of each trip, just like she does with
each DWOS event. “All of these trips and cruises are open to anyone of
any age or denomination,” she says.
In
addition, she and the Pell City Line Dancers perform at community events, such
as the Halloween Festival at Old Baker’s Farm in Shelby County, Homestead Hollow
in Springville and the Pell City Block Party. They dance monthly at the Colonel
Robert L. Howard State Veterans Home in Pell City, at the Village at Cook
Springs, and at Danbury in Inverness in Shelby County.
When
she isn’t traveling or organizing something, she helps her husband, Victor, who
is retired from National Cement in Ragland, with Munk’s Renovations. They
remodel apartments, refurbish the cabinets they remove and resell them. The
couple has been married for 22 years, and yes, she organizes his life, too. But
he doesn’t mind at all.
“She’s
a wonderful lady, she’s sweet, lovable, real thoughtful,” he gushes. Victor
says she organizes his closet, too. “I have a section for work shirts, for
dress shirts, for shoes, socks, pants and underwear,” he says. “She has tags,
so I’ll know where everything’s supposed to go. She doesn’t like for me to
leave my shoes or clothes lying around, and she’ll come behind me and pick them
up. I’ve been living with her for almost 23 years, and I guess neither of us is
going to change.”
Editor’s Note: For a video or DVD
of still pictures of the 2019 Dancing With Our Stars, call Doris at
205-473-4063. They are $10 each.
You may also call her for more information about her
trips.
Line
dancing classes meet at 9 a.m. on Wednesdays and Fridays, with beginner classes
following at 10 a.m. on the same days. Payment is on the honor system, with a
box set out to collect the $4 per person charge. l
Story by Scottie Vickery
Photos by Wallace Bromberg Jr.
David Foote peered intently through the lighted magnifier attached to his kitchen table and carefully cut a miniscule section of a duck’s feather with a small knife. It’s that attention to detail that makes the woodcarver’s art come alive, whether he’s recreating feathers, a beak or the shell of a turtle.
“You’ll never find anybody who has put more love and consideration into a piece than I have,” said Foote, who has been carving wildlife – mostly birds – for 38 years. “You’re looking at somebody who no doubt loves what he does.”
Foote’s creations have been featured at the White House, the Smithsonian Institution, the headquarters of the National Audubon Society in Manhattan, and in homes and offices in 11 countries. He’s taking commissions two years out, and his carvings can fetch thousands of dollars. Despite the acclaim, the Pell City artist is always honing his craft.
“I’m just an old country boy,” he said. “I’ve gotten to go to a lot of places and meet a lot of people because of my artwork, but I never feel like I’ve reached a pinnacle. It’s a continual learning process.”
Foote has learned a lot about himself in recent years, largely because of health issues that have plagued him. Ten years ago, while in the hospital with double pneumonia, he had a heart attack at age 47. In 2015, he battled squamous cell cancer in his throat and very nearly lost his life. The experiences helped him grow as a person and an artist.
“I was on life support for three weeks and in intensive care for a few more,” Foote said of his cancer fight. “I left the hospital in a wheelchair because I couldn’t walk. The doctor said, ‘I can’t tell you what to expect, because I’ve never seen anybody come back from the dead.’ I thought I’d never carve again.”
Instead of feeling sorry for himself, Foote thanked God for healing him and for every bird he’d had the opportunity to create. “Even if I didn’t carve another one, that was fine,” he said. “I was at peace with it.”
Slowly but surely, however, he began to regain his strength. As he graduated to a walker and then a cane, he began to think about once again pursuing his passion. “Finally, one day I picked up a knife and took a piece of wood and just started carving,” he said. “I realized I could do a little more each day.”
Foote, 57, first fell in love with carving at 18. The son of Wayne and Wanda Foote, he grew up on the river with his sister and two brothers, including an identical twin. His mother was a primitive antiques dealer, and his father, who had a long career in the iron industry, also built and restored furniture and log houses.
“My dad taught me a wonderful respect and reverence for wood,” Foote said, adding that he learned the different properties of wood make some types better for creating baskets and others best for making furniture. “He looked at wood like we look at different people.”
Foote also developed his love of nature and wildlife as a child. On fishing trips with his father, he spent more time feeding ducks than he did baiting his hook. “People ask me all the time why birds and why wood,” he said. “I’m a bird person; I notice them everywhere. And I like the unforgiveness of wood. You’ve got one shot. If you take something away, you can’t put it back.”
Not long after graduating from Pell City High School in 1980, Foote stumbled upon a craft show at a Birmingham mall and was mesmerized with one artist’s wood carvings. “We got to talking and he said, ‘You know a lot about wood, and you know a lot about birds. Have you ever thought about carving?’”
The man, Don Mitchell of Leeds, gave him his card and invited the teenager to visit his workshop. “I wanted to go the next day, but I waited two weeks,” Foote said. “He had an old garage he’d converted to a shop. When we walked in that door, that was it. Before I left there, he gave me my first carving knife and said, ‘Go carve a bird and when you get done, I want to see it.’”
Mitchell mentored Foote for about two years before he passed away. Later, Foote read everything he could get his hands on about birds and the art of wood carving, and he said he is largely self-taught. “My mother still has the first bird I ever carved,” he said. “My stuff was very crude back then, but my father gave me some good advice. He told me that there are no straight lines and nothing flat in nature.”
Foote’s art allows him to use another one of his talents and loves – painting. “I have always been artistic,” he said. “I was just always able to draw from first-grade on. The teacher would say, ‘Draw a bird, draw a house,’ and mine always got hung up on the board.”
He took art in middle and high school and said he was blessed to have accomplished artist John Lonergan, who lives in Pell City and is well known for his paintings and pottery, as his teacher. “He kind of took me under his wing,” Foote said.
For much of his career, Foote’s brush strokes provided the exquisite detail on the figures he carved mostly from bass wood. His recovery from cancer and brush with death, however, gave him the incentive he needed to try what he had wanted to do for a long time – take his skill to the next level and provide most of the detail through woodburning and carving rather than just paint.
Foote had experimented with the technique before cancer, but was afraid the extra work and time required would make his pieces too costly. “Everything back then was smooth and slick and didn’t have the intricate details,” Foote said. “When I got through cancer and saw I was going to be able to carve again, my whole attitude changed. I decided I don’t care if anyone buys it. I’m going to do it like I want.”
Foote, who now creates full-size, half-size and miniature works of art mostly from Tupelo gum wood, needn’t have worried. His customers pay anywhere from $1,000 for a small songbird to $5,000 for a full-size waterfowl. “What used to take 20-40 hours to complete now takes 400 or 500, so I’m averaging $8 or $10 an hour,” he said with a laugh. “I do what I do because I love it. I have never seen the face of a wood carver on the cover of a Fortune 500 magazine.”
Early career
Foote got his start in craft shows in his 20s and quickly began to win awards. The resident wood carver at Springville’s Homestead Hollow for 20 years, he shared his love with kids, many of whom were inspired to carve their own pieces. Perhaps the biggest surprise of his career, though, was when officials from the Alabama State Council on the Arts asked him to carve a yellowhammer for the White House Christmas tree in 2002. First Lady Laura Bush had selected a theme of “All Creatures Great and Small,” and the tree featured ornaments of each state’s bird handcrafted by local artists. The works were later exhibited at the Smithsonian.
Not long after, Foote was one of two artists worldwide selected to provide sculptures of endangered birds for the Audubon Society headquarters. “I consider that to be my claim to fame because they are the bird people of the world,” said Foote, who carved a pair of Virginia rails. “The other artist was a 10th-generation porcelain bird sculptor from Germany.”
While he appreciates the recognition he has received, Foote mostly enjoys doing what he loves for people who love it.
“It gives me great satisfaction when someone who gets up early every morning and works hard to put food on the table calls and says he wants one of my pieces,” he said. “This is a passion. I don’t know any other way to say it. As long as God gives me the strength in my hands and sight in my eyes, I’ll continue to do it.”
Pell City artist paints ornament for national Christmas tree display
Story by Leigh Pritchett
Photos by Wallace Bromberg Jr.
Submitted photos
When the 95th annual National Christmas Tree Lighting display opened in Washington, D.C., in December, a little piece of Pell City was among the decorations.
That is because local artist Buddy Spradley had painted one of the ornaments.
Spradley’s work and that of 13 other artists from North and Central Alabama were selected to help decorate the state’s tree in President’s Park. According to the National Park Service, 56 Christmas trees – one for each of the 50 states, the District of Columbia and the U.S. territories – showed their splendor in President’s Park from Dec. 1, 2017, through Jan. 1, 2018.
The effort to provide the dozen ornaments for the Alabama tree was coordinated by the Alabama State Council on the Arts and locally by Heritage Hall Museum in Talladega.
“It is our honor to decorate our home state tree and help the nation celebrate the holidays in one of our most recognizable parks,” said Valerie White, director of Heritage Hall Museum. “We are all excited to be part of the ‘America Celebrates’ display. It gives us an opportunity to show our pride in our state’s artistic talent, stunning natural wonders and vibrant cultural heritage.”
Spradley was excited too, in addition to “speechless, nervous, … thankful, honored.” He said he is “proud to represent Alabama to the U.S. in that way, through art.”
Spradley’s ornament depicts two waterfalls at Little River Canyon in Fort Payne. He chose Grace Falls as the main focus, with another Little River waterfall on the opposite side of the ornament.
Little River Canyon “has a special feeling to me,” he said. “(I’ve) always had a personal closeness to that area.”
Many times through the years, he has gone to Little River Canyon with his dad, nationally known watercolor artist Wayne Spradley of Pell City. The elder Spradley has painted Grace Falls in the past, a fact that influenced his son’s decision to feature it on the ornament.
“Now, he and I both have done Grace Falls,” said Buddy Spradley.
Although Spradley had not previously painted a spherical piece, he was able to complete the acrylic project in about two weeks during September 2017. He did confess, however, that holding the ornament and painting it at the same time presented quite a challenge. But duct tape saved the day. Spradley found that the center hole of a roll of duct tape made the perfect cradle for holding the ornament steady while he painted on it.
An artist’s early start
Spradley’s chance to help decorate a national Christmas tree through art really can be traced back 45 years when he won his first art competition at age 8. That piece was an abstract.
He grew up around art, watching his dad create wildlife scenes and landscapes that would gain national acclaim. In the early 1980s, his dad produced the artwork for the Alabama Waterfowl Stamp.
After Buddy Spradley graduated from Pell City High School, he put art aside and instead earned a mortuary science and forensics degree. For eight years, he worked at Kilgroe Funeral Home, with his uncle and aunt, Sonny (now deceased) and Jane Kilgroe. From the couple, Spradley learned much about respecting, serving and helping people. “That job did teach me compassion,” he said.
It was also during those years that he felt a calling to teach. To prepare for the career change, he studied graphic art and anthropology at Jacksonville State University, and then art education at the University of Alabama.
For two years in Anniston, followed by 18-plus years in Pell City Schools, Spradley taught art to “thousands of kids.”
During the years of teaching, his art mostly consisted of pieces he painted as classroom demonstrations for the students. His focus was on educating and encouraging his students, rather than producing his own pieces.
He called the job a “blessing,” saying he went to school each day with a smile and left with a smile. The time in between was spent trying to instill in every child a sense of success and accomplishment.
Dr. Micheal Barber, superintendent of Pell City Schools, described Spradley as a “wonderful artist and wonderful teacher. … He brings life into art.”
Barber said Spradley incorporated into art class what the students were learning in history, science and other subjects.
Spradley is retired from the classroom now and greatly misses teaching students. He still feels a deep sense of responsibility toward them.
“Teaching school was such an important, big part of my life. … You’ve got to behave yourself and be a good role model … in and out of school,” Spradley said. “Even though I’m retired, I feel like I’m still responsible for making a good impression.”
The Christmas tree in his living room at the time of Discover’s visit with Spradley gave evidence of the impact he has had upon many young lives. Decorations given by past students adorned the tree from top to bottom.
It is not uncommon for former students who are now adults to tell him, “I’ve still got the Christmas tree we did in art, and I put it up on the mantle every year.”
His own heritage of art has become one of his treasures. In fact, the art table he uses is the very first one that his father had … back in 1954. He also has, as a keepsake, a sizable stack of his dad’s art demonstration pieces.
Prior to retirement, Spradley’s life journey already had taken several significant turns. Among them were an emergency triple bypass at age 38 and the death of his mother, Pat, from complications related to Alzheimer’s disease. Then, in September 2015, his journey took a path that made retiring necessary. Spradley was told he had gastric and esophageal cancer that was stage 3 – bordering on stage 4.
“I had less than a 9 percent chance of survival,” Spradley said. “… But I knew I was (going to make it). … Thank God, I had some of the most professional, caring doctors. They saved my life. My surgeon prayed with me before surgery. … They cared about my wellbeing and I am so thankful for that. I never would have survived without my family and my friends. Never.”
Spradley said his dad had always been “my rock,” but was even more so during that time. Also, aunts Jane Kilgroe and Jean Phillips were very caring and continue to be.
The chemotherapy treatment, which lasted a year, caused nausea, fatigue, neuropathy in his hands and loss of appetite. The neuropathy prevented Spradley from holding a paintbrush.
His determined dad devised a means for his son to return to painting. It involved inserting the brush handle into a small tube and taping the tube to his son’s finger. With such a setup, Buddy Spradley did not have to hold the brush, he only had to point his finger to paint.
It worked well and Buddy Spradley again was creating wildlife and landscape scenes and an occasional abstract. Painting, he discovered, helped to overcome the neuropathy.
On one particular day during the battle with cancer, Spradley stood at his kitchen window, looked out and prayed. He said he was about to start the next part of his life and asked God what He wanted Spradley to do.
Very soon, things started happening.
Almost overnight, Spradley felt a stronger commitment to art. He became “completely engulfed in my painting.”
Also, his skill reached a new level.
Wayne Spradley noticed a marked difference in his son’s artwork, especially in draftsmanship and execution. He saw his son’s abilities draw ever so close to perfection.
Then, came the invitation for Buddy Spradley to paint an ornament for a Christmas tree in the nation’s capitol.
“It was so unexpected,” Spradley said. “And it all goes back to when I was standing in that window and was asking for guidance for the second half of my life.” When God opens doors, Spradley said, “(you get) to do things you didn’t think you could do.”
Wayne Spradley was thrilled that his son was chosen for the honor. “I was proud of him,” he said. “I encouraged him as much as I could.”
Buddy Spradley could also imagine his mom’s voice telling him she is proud of him, too, just as she had done so often during his life.
In early 2018, Spradley embarked on another project – that of submitting an entry to the Alabama Waterfowl Stamp art contest. The painting he has in mind to do will be painstaking, considering that each feather of the ducks will have to be done individually. Yet, he looks to the challenge with the hope of being listed among the winners, just like his father is.
At times, Spradley still struggles with residual effects of cancer treatment. “It’s something you learn to live with and not let it stop you. (You) have faith that the Good Lord is with you, (and you) try to make a difference in every day.”
He said that experiencing cancer has changed life entirely. He has learned to see God’s miracles in everything. “ ‘Only the Good Lord can make beautiful things,’ ” Spradley remarked, recalling what he had heard his mother say so frequently. “I carry that quote with me daily.”
He cherishes family, enjoys friendships, studies with an insatiable hunger for knowledge, paints with conviction and appreciates the preciousness of life.
“I’m thankful for every day.”
Buddy Spradley’s artwork is available through his Facebook page and at Pell City Coffee Company.Visit www.heritagehallmuseum.org/community to see Buddy Spradley’s ornament, as well as those produced by the other 13 North and Central Alabama artists. (A note of interest: Three of the other 13 artists are current students of Wayne Spradley.)