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A Christmas Carol, Suburban Chicago Version

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Metropolis Performing Arts Centre is an excellent mid-sized theater that would fit in anywhere in the city, but it happens to be in suburban Arlington Heights. We went to see a production of A Christmas Carol there on Saturday.

Another nice detail: they produce paper tickets. This was Ann’s.
The soulless ticket cartel might be eager to get rid of paper tickets, but venues ought to be eager to keep them. People keep them, especially if they show was good. They’re cheap long-term bits of marketing.

Ann had never seen A Christmas Carol on stage, and neither had Yuriko. The last time I saw it was also at the Metropolis — almost exactly 10 years ago, when I took Lilly.

This production had everything it needed to have, particularly an actor (Jerry M. Miller) who could handle Scrooge’s dour initial disposition that slowly melts to his inevitable conversion to altruism. A Christmas Carol without that is a limp rag indeed.

Since it’s based on a novella, and not a source play, stage versions are going to differ, as the movies do. There was more singing and dancing in this version than others I’ve seen. Each of the Christmas spirits got a song-and-dance by a troupe, for instance, which was pleasant enough. This version also featured Bob Cratchit as the story’s narrator, which was a little odd.

A couple of important lines were omitted. Lines I think are important, that is. Old Fezziwig, who seemed reasonably prosperous — he had apprentices, after all — but who also knew that life was about more than making money, got none of his lines. He was mentioned in passing by Scrooge, and he got to dance, but that was about it.

“Yo ho, my boys!” said Fezziwig. “No more work to-night. Christmas Eve, Dick. Christmas, Ebenezer. Let’s have the shutters up,” cried old Fezziwig, with a sharp clap of his hands, “before a man can say Jack Robinson.”

When faced with the Spirit of Christmas Yet to Come, Scrooge didn’t ask it a most important question.

“Before I draw nearer to that stone to which you point,” said Scrooge, “answer me one question. Are these the shadows of the things that Will be, or are they shadows of things that May be, only?”

Just quibbles. Now I’ve done my bit to introduce my children to the Dickensian part of Christmas. If you’re going to celebrate the holiday in this post-Victorian world, you should know it.

We Don’t Care, We’re the Phone Company (Or, I Ain’t Afraid of No Phone Cops)

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There’s a fair amount of clutter in my mother’s house, which is characteristic of my family, but not at the level of hording. For instance, no one saved all of the phone books that have come to the house over the years. But there was one tucked away in a cabinet that I came across last week.

This one.

The Southwestern Bell Telephone Directory for San Antonio, published in September 1967. With a model of the Tower of the Americas prominent on the cover, rising above a model of HemisFair, which would run during in 1968. When the directory was published, the tower was still under construction.

Why was the directory saved? Maybe as a kind of souvenir of that world’s fair. Or because it was the first phone book we got when we moved to San Antonio, which was in the summer of ’68. Since phone books used to be published annually, we would have gotten a ’67 edition.

The back cover advertises the Bell System Exhibit at the fair with a painting that looks as 1967 as can be.

Those skyride cars are the artist’s fancy. The actual skyride cars, which I remember because they lingered at the site of the fair for years afterward, looked more like these.

Naturally, I had to spend some time looking between the covers. Just turning to any random part of the white pages — people named Green, in this case — you see the following.
Name, address and an alphanumeric for a phone number, though a few of them are all numeric. So I’m not imagining things when I remember being taught as a seven-year-old, after we moved to San Antonio, that our new number began with TA4. At some unremembered moment in the ’70s, that became 824.

I looked up the parents of a few people I knew in high school. Interestingly, none of them yet lived in the houses I would remember them being in, which would be about 10 years later. Also, per custom of the time, only the man of the house was listed.

Something else that’s gone: this is the white page listing for all of the Handy-Andy grocery stores in San Antonio in 1967.
Twenty-eight all together, and there were probably more in smaller towns in South Texas. My grandmother traded — interesting old-fashioned choice of verbs — at the one on 5930 Broadway. The store gave away coffee and little doughnuts. She’d drink some coffee, I’d eat some doughnuts. After moving to town, my family frequented the one at 1955 Nacoghoches all through the ’70s and ’80s.

These days, there are zero Handy-Andy supermarkets. In the struggle for regional grocery dominance, HEB won. The 1955 Nacoghoches location is now an HEB, and probably some of the others are as well. This article tells about the last gasp of Handy-Andy.

On to the yellow pages. Actually, all of the pages are fairly yellow, considering that the book is now more than 50 years old. Anyway, here’s an industry that isn’t what it used to be.
This industry is flourishing as ever. But the terminology has changed.
And there were house ads in the phone book. Direct dialing was a relatively new thing in 1967, I understand. Definitely cheaper than paying human operators, but DDD as a shorthand for it never caught on.
Here’s something for those of us who remember the difference between person-to-person calls and station-to-station calls, which was relevant into the ’70s. I see that the Phone Company (always caps, always) was encouraging station-to-station.
I can only speculate why. Person-to-person calls were more expensive, so you’d think the Phone Company would want people doing that.

But there was a way to game the system, if you only wanted (say) your family to know that you’d arrived somewhere safety. You’d call person-to-person and ask for someone that didn’t exist, or maybe yourself. The person who answered would know it’s you, but say that person you asked for wasn’t there. In that case, there was no charge for the person-to-person call.

I don’t ever remember doing that, but I know people did (and who probably weren’t afraid of the Phone Cops). By contrast, station-to-station was guaranteed revenue for the Phone Company.

Vulcan

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While I was in Birmingham earlier this month, I noticed a lot of yard and roadside signs for the upcoming Senatorial election. Every single one was for Doug Jones or, more likely, against Roy Moore. Birmingham tends to be Democratic, and Jones is from Birmingham, but I think there was more to it than that. What I didn’t think was that Jones would win.

The simplest of the signs said: No Moore.

I’m only half-joking when I say that the modern world was invented either by Victorians, or for the 1893 World’s Fair, or for the 1904 World’s Fair, or by ad men in the 1920s. In the case of the massive cast-iron Vulcan overlooking Birmingham, Alabama, the statue was created for the World’s Fair in St. Louis, to tell the world about the city’s core competence in metal.That’s Vulcan atop the stone tower that the WPA built for him in the 1930s. Next, a view from a little further back.

Note the observation deck. You can reach that via stairs inside the tower, or by an elevator in the other tower. We took the elevator. From the deck, which goes all the way around the tower, Vulcan’s backside is close by.Besides Vulcan’s buttocks, we could see Birmingham stretching out in the distance.

There were also views of the surrounding hilly terrain.

For Vulcan, created by immigrant Giuseppe Moretti, the road from the 1904 World’s Fair to the top of Red Mountain in Birmingham wasn’t direct. After the fair, he was painted and displayed at the Alabama State Fairgrounds until the 1930s, when he was moved to Red Mountain and put on the 124-foot pedestal fashioned by the WPA.

Instead of a spear point, which was lost en route home from the fair, he had a lantern in his outstretched hand. It glowed red after a traffic fatality in Birmingham; green when there had been none for a while.

In the early ’70s, the tower was “modernized,” that is, made ugly. By the end of the 1990s, however, the statue was threatening to fall apart — no small matter for something that’s 56 feet high and weighs 100,000 pounds (the head alone weighs 11,000 pounds).

It took a while to raise the funds needed for repairs, but civic pride eventually came through. The statue was revamped by 2004, including restoring the structure and Vulcan’s original coloration, giving the tower back its WPA appearance, and putting a spear point back in the god’s hand.

Sloss Furnaces

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Not far from downtown Birmingham is Sloss Furnaces, site of pig iron production from 1882 to 1971.

In our time, Sloss is an enormous forest of iron and steel, besides being a National Historic Landmark, sometime music venue, and site of a metal arts program. The long shed was, in fact, active with metal working while we visited. To see the main part of the site, you walk past the shed through a kind of tunnel.
“In 1871 Southern entrepreneurs founded a new city called Birmingham and began the systematic exploitation of its minerals,” the Sloss Furances web site says. It’s an excellent short history — you don’t always get that at web sites — so I will quote at at length, to go with some pictures.

“One of these men was Colonel James Withers Sloss, a north Alabama merchant and railroad man. Colonel Sloss played an important role in the founding of the city by convincing the L&N Railroad to capitalize completion of the South and North rail line through Jones Valley, the site of the new town.

“In 1880, having helped form the Pratt Coke and Coal Co., which mined and sold Birmingham’s first high-grade coking coal, he founded the Sloss Furnace Co., and two years later ‘blew-in’ the second blast furnace in Birmingham.”

The site these days includes relics towering into the sky.

And entrances into dark cavities.
“Construction of Sloss’s new furnace (City Furnaces) began in June 1881, when ground was broken on a fifty-acre site that had been donated by the Elyton Land Co. Sixty feet high and eighteen feet in diameter, Sloss’s new Whitwell stoves were the first of their type ever built in Birmingham and were comparable to similar equipment used in the North.

“Local observers were proud that much of the machinery used by Sloss’s new furnaces would be of Southern manufacture. It included two blowing engines and ten boilers, thirty feet long and forty-six inches in diameter. In April 1882, the furnaces went into blast. After its first year of operations, the furnace had sold 24,000 tons of iron. At the 1883 Louisville Exposition, the company won a bronze medal for ‘best pig iron.’ ”

“Nothing remains of the original furnace complex. The oldest building on the site dates from 1902 and houses the eight steam-driven ‘blowing-engines’ used to provide air for combustion in the furnaces. The engines themselves date from the period 1900-1902 and are a unique and important collection — engines such as these powered America’s Industrial Revolution. The boilers, installed in 1906 and 1914, produced steam for the site until it closed in 1971.

“Between 1927 and 1931 the plant underwent a concentrated program of mechanization. Most of its major operation equipment — the blast furnaces and the charging and casting machinery — was replaced at this time. In 1927-28, the two furnaces were rebuilt, enlarged, and refitted with mechanical charging equipment, doubling the plant’s production capacity. While the site strongly reflects the changes made from 1927-1931, some of the technology is more current.”

“Despite being dominated by black labor, the industrial workplace was rigidly segregated until the 1960s. Workers at Sloss bathed in separate bath houses, punched separate time clocks, attended separate company picnics. More important was the segregation of jobs.

“The company operated as a hierarchy. At the top there was an all white group of managers, chemists, accountants, and engineers; at the bottom an all black ‘labor gang’ assisted (until its demise in 1928) by the use of convict labor. Sloss utilized the convict leasing system only in its coal mines. As Lewis noted in Sloss Furnaces, ‘….convict labor, mostly black, was an important weapon in the district’s economic warfare with northern manufacturing.’ Slavery had not died but merely been transformed.”

Oak Hill Memorial Cemetery, Birmingham, Alabama

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At the Oak Hill Memorial Cemetery in Birmingham on December 2, I saw this modest obelisk. It was a surprise.

The carving is a little worn, but still legible.

G.A.R.
ERECTED
BY
GEO. A. CUSTER
POST NO 1 DEPT OF AL
APRIL 27, 1891

Scattered around the memorial are the graves of former Union soldiers, such as P.J. Crawford of Co. H, 3rd New Hampshire Infantry and Corpl. Chas. M. Robinson of Co. F, 8th Michigan Cavalry.

A surprise, but then again I’m sure a number of former Northern soldiers made their way to Birmingham in the late 19th century, looking for opportunity in the rising industrial city like anyone else. Enough to have a GAR post, and enough for the post to buy a small plot in the cemetery.

The Birmingham Public Library says that “in 1871 the City of Birmingham purchased from the Elyton Land Company 21.5 acres for a city cemetery (later named Oak Hill)… As the first city cemetery, Oak Hill became the resting place for virtually all of the Birmingham pioneers. Although the majority of burials at Oak Hill Cemetery date back before the 1930s, it remains an active cemetery, averaging fifteen burials per year.”

Plenty of other stones are just as old as the GAR ones, and in various states of decay.

The cemetery is marked by mature trees.

And evidence even in early December that it’s still fall in central Alabama.

The cemetery sports some mausoleums, but not many. They were often crumbling.
There are also larger stones, but not that many of those either. As city cemeteries of the late 19th century go, Oak Hill’s fairly restrained in that way.
Oak Hill, like much of Birmingham, has some hilly contour. I think that adds to the aesthetics of a cemetery, especially if there’s a variety of trees and stones.
Other parts are more level.
We didn’t look for anyone in particular, though a number of Birmingham and Alabama notables are buried at Oak Hill. Looking through a list of them, the only one I recognized was Fred Shuttlesworth, who died only in 2011. We didn’t see his grave.

As it happens, Bull Connor — another of the handful of Birminghamians I’ve heard of — is buried at a different large local cemetery, Elmwood. Which is on Martin Luther King Jr. Drive. Heh-heh. Hope that sticks in Bull’s craw.

Birm-Tex ’17

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Before spending the last week in San Antonio visiting family, I spent about 36 hours in Birmingham, Alabama, during the first weekend in December. I went there to visit my old friend Dan, whom I hadn’t seen in about 18 years.
That’s too long, as the Wolf Brand Chili man said. See your old friends if you can, because we’re all mortal. I was also fortunate enough to become reacquainted with his wife Pam, whom I’d only met once, more than 20 years ago.

Dan and I had a fine visit, talking of old times and places — we’ve known each other 36 years — but not just that. He grew up in Birmingham and has lived there as an adult for a long time, so he was able to show me around and tell me about the city’s past and about recent growth as an up-and-coming metro. In this, he’s quite knowledgeable.

I’d heard something about that growth, but it was good to see some examples on foot and as we tooled around hilly Birmingham in Dan’s Mini Cooper, which was also a new experience for me. Not to sportiest version, he told me — he’d traded that one for this one he now drives — but it had some kick.

On the morning of Saturday, December 2, we first went to Oak Hill Memorial Cemetery, very near downtown Birmingham, and the city’s first parkland-style burial ground. Dan told me he’d never been there before. Not everyone’s a cemetery tourist. But he took to the place, especially for its historic interest, and he even spotted the names of a few families whose descendants he knows.

From there we drove to Sloss Furnaces, which, as the postcard I got there says, is “the nation’s only 20th-century blast furnace turned industrial museum.” Iron mining and smelting made Birmingham the city that it is. So it was only fitting that we went to Vulcan Park as well, to see the mighty cast-iron Vulcan on his pedestal on a high hill overlooking the city.

Toward the end of the afternoon, I suggested a walk, and so we went to the Ruffner Mountain Nature Preserve, which has 14 miles of hiking trails. More than that, the earth there is honeycombed with former mines, all of which are now sealed. But we got to see the entrance of one of them, dating from 1910.

After all that, we repaired to Hop City Beer & Wine Birmingham, a store that has an enormous selection of beer and wine in bottles, as well as a bar with a large draft selection, where we relaxed a while. Had a cider and a smaller sample of beer that I liked.

Along the way during the day, we also visited Reed Books, a wonderful used bookstore of the kind that’s increasingly rare: owned and run by an individual, and stacked high with books and other things, with only marginal organization. I bought Dan a copy of True Grit, which he’d never read.

We drove through some of Birmingham’s well-to-do areas, sporting posh houses on high hills and ridges along roads that I could make no sense of, twisty and web-like as they were. Luckily, Dan knew them well.

In downtown Birmingham, we also drove by some of the historic sites associated with the civil rights movement, including the new national monument. According to Dan, it would take a day to do the area right, so we didn’t linger. I got a good look at the 16th Street Baptist Church, the A.G. Gaston Motel, where King and others strategized, and Kelly Ingram Park, where protesters were attacked with police dogs and water cannons.

During my visit, I ate soul food, breakfast at a Greek diner — Greek immigrants being particularly important to the evolution of restaurant food in Birmingham, Dan said — excellent Mexican food (mole chicken for me), and a tasty breakfast of French toast and bacon made by Dan and Pam. On the whole, we carpe diem’d that 36 hours.

In San Antonio, as usual, I was less active in seeing things, but one sight in particular came to me. On the evening of Thursday, December 7, I looked out of a window at my mother’s house and saw snow coming down. And sticking. “I’ll be damned,” I muttered to myself.

At about 7:30 the next morning, I went outside to take pictures. Nearly two inches had fallen, according to the NWS. The snow was already melting. A view of the front yard.

Of the back yard.

It occurred to me that hadn’t seen snow on the ground in San Antonio since 1973.

Adios, November

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Three yawning months of meteorological winter ahead. That’s what counts for winter: December, January and February. Never mind what anyone says about the solstice. But at least no heavy snow or ice is forecast for now.

Back again to posting around December 10.

What did we do to deserve this sunset? A late November event, as seen from our deck.
On Thanksgiving, the girls and I watched Airplane! on demand. What is it about that movie and its rapid-fire, throw the jokes against the wall to see if they’re funny structure? I’ve watched it a number of times since I saw it when it was new, and it’s funny every time.

Unlike another movie I paid good money to see in 1980: The Hollywood Knights. That was a mistake. So much so that sometime afterward I invented my own personal scale of movie quality: The Hollywood Knights Scale, from zero to some unspecified large number, zero being the worst.

The Hollywood Knights comes in at exactly 0 on my idiosyncratic scale. I’ve seen some bad movies in my time, but that ranking is still valid as far as I’m concerned (though I’d have to put, say, Patch Adams at 0.1).

Not familiar with The Hollywood Knights? Wiki gives a pretty good summation: “The ensuing antics include, among other things, a sexual encounter involving premature ejaculation, a punch bowl being spiked with urine, an initiation ceremony involving four pledges who are left in Watts wearing nothing but the car tires they are left to carry, a cheerleader who forgets to put on her underwear before performing at a pep rally, several impromptu drag races, and the lead character of Newbaum Turk (Robert Wuhl) wearing a majordomo outfit and singing a version of ‘Volare’ accompanied by the sounds of flatulence. Mooning also plays a prominent role in the film…”

None of those things necessarily make the movie unfunny. After all, Airplane! includes jokes about drug abuse, pederasty, oral sex, a sick child, and African-American dialect. There are ridiculous visual gags, such as Ted Striker’s drinking problem or pouring lights on the runway. Punning is rampant (don’t call me Shirley). Yet it all works as a comedy. The writing, directing, acting, timing and entire conceit as a spoof of more serious movies are vastly better than anything The Hollywood Knights did.

Speaking of odd things in movies, this is a still from Animal Crackers.

That’s supposed to be part of an outdoor patio of a lavish home on Long Island. The characters, who are not really that important in the scheme of the comedy, are the wealthy homeowner’s daughter and her honest but poor boyfriend. What caught my eye was that structure behind them.

According to the imdb, the uncredited art director for the firm was the German-born Ernst Fegté, who was working in Hollywood by 1925, and who had a busy career. Now what, I can imagine him thinking, would a wealthy Long Island socialite want for her patio? Something — modern.

The movie was made in 1930. Here’s something else from exactly then, a cover of Radio Listener magazine that I saw at the early Soviet art exhibit at the Art Institute last weekend.

It’s a Peakaboo Stalin. Lenin figured in a fair number of the works, but Stalin was only an up-and-coming character during most of the period. A little like Fonzie, though — pretty soon he’s going to take over the show.

One more thing, and naught to do with movies or the Soviet Union. I took Lilly back to UIUC on Sunday, and en route arranged to take a picture of this roadside attraction in Kankakee. Almost literally roadside, since it’s best seen from I-57.
“28 feet tall, Abe stands in front of a heavy equipment rental lot, and holds signs that promote whatever its owner feels strongly about at the moment,” says Roadside America.

I’ve seen him with a sign, but for the moment he holds none. Just as well, I figure. A sign in Honest Abe’s hands is gilding the lily.

The New Oldest President

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This came to my attention the other day. Last Friday, George H. W. Bush became the longest-lived president in U.S. history, at 93 years, 166 days. He bested Gerald Ford — who isn’t getting any older — that day, and topped Ronald Reagan about a month and a half ago. Reagan had the longest-lived distinction for a few years in the early 21st century, and more recently, for about the last 10 years, Ford was the oldest.

Presidential longevity is reaching new heights here in the 21st century. For a very long time, about 175 years, John Adams was the longest-lived president. He famously died on July 4, 1826, aged 90 years, 247 days. Reagan passed him only in 2001.

Now each of the four presidents who followed Richard Nixon have lived to be at least 93, with the elder Bush and Jimmy Carter currently gunning for 94. To reach 93, George W. Bush and Donald Trump would both need to live to 2039; Bill Clinton, to 2040; and Barack Obama, to 2054.

The Deering Family Galleries of Medieval and Renaissance Art, Arms, and Armor

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Some years ago, the arms and armor gallery at the Art Institute of Chicago, a long hall packed with Medieval and Renaissance arms and armor, but also such artwork as reliquaries, disappeared during a renovation. A permanent exhibit of Indian art, as in the Indian subcontinent, took its place.

Indian art is a fine thing, but I missed arms and armor. Earlier this year, I read that the museum had restored the arms and armor display in a different place, but I was skeptical that it would be as good as the good old hall. I was wrong. The new galleries, collectively known as the Deering Family Galleries of Medieval and Renaissance Art, Arms, and Armor, are better.

An Art Institute press release from March says that the galleries are “the permanent home for nearly 700 objects from the museum’s rich holdings of art from 1200 to 1600, including monumental altarpieces, exquisite jewelry, and the beloved arms and armor collection.

“While much in the collection may be familiar to long time visitors, the installation expands the display of art of this period sixfold and enfolds them in an historically inspired atmosphere and context. The construction of these galleries marks the most ambitious architectural undertaking at the museum since the Modern Wing opened in 2009.”

In the very first gallery, you see the Ayala Altarpiece, dated 1396 and commissioned by Pedro López de Ayala, later chancellor of Castile. The museum spent three years recently restoring the painted wood altarpiece, 24 feet across by eight feet high, and it’s quite a sight.

Also in the first gallery are the likes of a crucifix by the Master of the Bigallo Crucifix, Italian, active about 1225-65.

And “Saint George and the Dragon” by Bernat Martorell, a Spaniard (1434/35).

“The galleries that follow are more intimate, focusing on late Gothic and Renaissance domestic life,” the museum continues. “Luxury goods and accessories for feasting fill one room while another displays works of art for the bedchambers of Tuscany’s merchant elite. Everyday objects from northern Europe, along with jewelry and items of personal display, complete the domestic picture of the period.

“From here, the space opens to the new home of the museum’s expanded arms and armor collection. Filled with weaponry and armor, the display is dominated by two armored figures on horseback — one dressed for battle, the other for sport — and two armed and costumed figures engaged in foot combat.

That’s a kind of armored contest I’d never seen depicted before. Clearly the object of the contest was to knock the other man over without crossing the cross beam, and probably striking below the waist was against the rules.

There were also some good old-fashioned displays of armor in a standing position.
Along with plenty of weapons representing many ways to hack into the other guy.

Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test

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After lunch at Shake Shack on Michigan Ave. on Saturday — crowded, but not impossible — we wandered over to the Art Institute. Been a while since we’d been there. I was particularly keen to see Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test.

Mounted, I’m sure, to coincide with the 100th anniversary of the revolution. Just inside the entrance to the exhibit was the “Lenin Wall.” Lots of Lenin, including a small statue.

Besides that, the exhibit featured paintings, posters, prints, drawings, photos, magazines, film, agitprop ephemera, porcelain, figurines, life-size reconstructions of early Soviet display objects or spaces commissioned especially for the exhibition, and more.

I was glad to see the Suprematist porcelain collection (I. I. Rozhdestvenskaia).
That’s because I used to have a Suprematist-style cup and saucer. Actually, I still have the saucer, but the cup broke long ago.

Remarkably, there was such a thing as Soviet advertising. Or an equivalent. At least early on (1923).
That’s a preliminary design for a Mosselprom building advertisement for cooking oil by Aleksandr Rodchenko, the Constructivist.

The cover of Produce! magazine (Mechislav Dobrokovskii, Sept. 1929).
And the cover of a magazine called Atheist at the Workbench, Jan. 1923 (Dmitrii Moor).
The theme of that cover is “We got rid of the tsars on Earth, let’s deal with the ones in Heaven.”

This is a model of the never-finished Palace of the Soviets in Moscow, whose partly completed structure was cannibalized for raw materials to fight the Nazis. That’s Lenin on top.
Here’s one of a series of 36 small posters extolling gender equality and increased industrial production (1931). All of them pictured women doing one kind of socialist labor or another, and graphs whose trends were always upward.
If there had been a collection of postcards in the gift shop based on these posters, at a reasonable price, I would have bought it. Or a Suprematist tea cup. But no.