Beating the Train

This photo reminds me of my dad Floyd Pitts who would sometimes reminisce about his younger days when he was still in high school at Morrow, Arkansas. He’d tell part of this tale then slap his leg and start laughing.

During that period of his life – early 1930s – his parents and younger sister had to move to West Memphis where his dad found work. Floyd stayed at Morrow to finish high school. He slept on a cot at the Morrow Mercantile with duties to keep the fires going at night so the stock didn’t freeze. Alongside his work duties and high school classes, he and three friends performed around the Northwest Arkansas region as a quartet.

“By 1933, I was the leader of the Morrow Quartet (I played fiddle and sang bass) and we were the best in the whole area. We sang at anything. We’d put on a show at places like the Savoy Community Building, we sang on the radio all the time, KUOA, Voice of the Ozarks [then located in the Washington Hotel on the southwest corner of the Fayetteville square, Mountain and Block], any old breakdown tunes.

Floyd Pitts circa late 1930s

“It was a novelty for a boy to play the piano. People would take us home for dinner if we’d perform.  Jim Latta was the father of one of the singers—the lead, Vernon Latta. He’d help us out buying gas. Vernon played guitar and mandolin. Or the Morrow Mercantile would help us because of Dennis Carmack, the tenor of our group. There were four main guys who owned the Mercantile: Ernest Ball, Lowrey Carmack, __ Reed, and [can’t remember].  Ty Reed sang alto (high tenor). I played fiddle and Dennis Carmack played guitar.

“Dennis had an old Chevrolet and that’s how we got to Fayetteville for our weekly radio show. One time we were running late. There was a railroad crossing at the turn off from the Cane Hill Road to the main highway just east of Lincoln. We heard the whistle and as we roared up to the crossing, we could see the train coming. Trains were long in those days, usually pulling an endless string of freight cars. We knew we’d miss our broadcast time if we waited for the train.

“The train was barreling down, close, too close, to the crossing. There wasn’t time to discuss it. Dennis floored that old Chevy. The engineer laid on his whistle as we hurtled ahead throwing up a huge dust cloud behind us. We could see the engineer’s mouth moving as we approached. He was shaking his fist at us.

“We flew over those tracks without a second to spare. The force of that train as it passed behind us shook the car. As we made the sharp turn just after crossing the tracks, that old car went up on two wheels. We all leaned to the right, laughing at our near miss as the car slammed back onto all four tires. We made it to the Fayetteville Square in time for our show.”

Floyd Pitts went on to gain his bachelor’s degree in music at Northeastern State University at Tahlequah, Oklahoma, then taught music at Rogers AR public schools until his service as an officer in the U. S. Navy in World War II. After the war, he gained a master’s degree in music at Iowa before returning to Rogers to teach. He took over the band man post for the Grizzly band at Fort Smith’s high school in 1953. During his time at Fort Smith, he moonlighted in vocals and piano with a dance band that played local venues like the Elks Club. In January 1957, he proudly led his band in the Washington D.C. parade for Dwight Eisenhower’s inauguration.

In 1958 in search of better income, he moved his family to Miami, Oklahoma to lead the music programs for the public schools and direct the junior high and high school bands. During those years, he pursued after-hours income by tuning and repairing pianos, something he’d done since his high school days when he’d teach shape note singing at schools and church houses around the area and inevitably encountered out-of-tune pianos. His father, a sometimes blacksmith, forged Floyd’s first tuning hammer from an old Model A tie-rod.

Floyd remained the Wardog band director at Miami until 1967, when the family once again relocated to Fayetteville, Arkansas. (His wife, Carmyn Morrow Pitts, was relieved to be back in “God’s country.”) From there, Floyd taught band a couple of years at Westville, OK and for many more years at Lincoln AR, more or less a return to his roots at the end of his long career in teaching music to multiple generations. He retired in 1979 but continued his new career as a full time piano tuner/technician alongside his daughter Denele until a couple of years before his death in 2004. Even in his last days, a good old fiddle tune would bring on a flurry of foot tapping.

~~~

Floyd’s first tuning hammer from Model T tie-rod, late 1920s

Side note: KUOA began as a project of the University of Arkansas in Fayetteville, using these call letters starting in 1926. With the deepening of the Great Depression, in 1931 the University decided to lease operations to out of town interests. “Members of the Fulbright family then formed KUOA, Incorporated, to purchase the station, and on April 1, 1933, they took control, with Roberta Waugh Fulbright as president, John Clark as secretary-treasurer, and daughters Roberta Fulbright as station manager and Helen Fulbright as vice president.”[1] Ownership of the station shifted to John Brown University in 1936.


[1] https://encyclopediaofarkansas.net/entries/kuoa-radio-station-3678/

NO! to a 5-Story Hotel in the Heart of Dickson Street

Residents and visitors of Fayetteville might want to pay close attention to the issue currently facing the city council, that of a proposed ‘arts corridor’ and parking deck at Dickson and West. Several aspects of this project don’t quite pass the smell test and once it’s done, it’s done.

No one seems to know how the idea of an arts corridor got started. According to one council member I consulted, “The story I’m being told is that one of our planners, Leif Olsen, who has no expertise in arts and culture, drafted the grant proposal to the Walton Foundation. I can’t discern who directed him to do that, if anyone with appropriate expertise consulted with him, or if he worked with any stakeholder group.” So far the biggest champion of the art corridor is the Walton Arts Center CEO and president, Peter Lane. Hm.

In order to gain the coveted arts corridor, the city must convert the WAC parking lot into a park with a civic forum space, which in turn requires the construction of a parking garage to offset the loss of parking for the WAC. The mayor has determined that such a parking facility must be no more than 1000 ft. from the WAC, no doubt after consultation with the WAC.

The project has progressed to the point that only three possible locations will be considered. One is the place now known as the Nadine Baum Center, which would be torn down and replaced with a garage and some liner buildings that would supposedly offset the loss of current art studios in the Nadine Baum Center. Another is a city-owned space on School Avenue, immediately east of the current Spring Street garage. The third, and current favorite of Peter Lane, the mayor, and certain other development-happy folks, is a space smack in front of Arsaga’s Depot along West Avenue. About half of that land is privately owned by developer Greg House.[1]

A fascinating bit about the preferred lot is that House plans to build a 5-story hotel immediately adjacent to the parking garage. The hotel would take pride of place at a landmark corner of Dickson and West, removing the train bank and looming over the 1882 depot building. We must ask whether any study has discovered the remaining number of parking spaces for the WAC once the hotel’s employees and guests have parked there. Hm.

Also fascinating is that in April 2019 when voters were asked to approve a $31.5 million bond issue for a cultural arts corridor, the bond issue included a parking deck for $10 million to replace the 290 spaces lost when the Walton Arts Center parking lot becomes a green space. (One must ask why one of the most trafficked spots in town must suddenly become green space, when most people patronize parks near their homes. Oh, yeah, the arts corridor…) What the bond issue also covered was a group of improvements for streets, police, the fire department, and other civic concerns which might be more appropriately labeled ‘bait’ to assure the approval of the arts corridor.[2]

But hey, just asking questions here.

Apparently the clock is ticking on how long this issue can be batted around before the money time frame runs out. That is, the time frame for the $1.7 million Walton Foundation grant to help fund the arts corridor. Thus the hurry-up among council members as well as interested parties in the refusal to take a step back and think about the big picture before rushing into an irreversible decision.

So to get the $1.7 million, we’re going to spend somewhere near $30 million. Fast, before we have time to really think about it.

Big picture considerations include the historic tradition of Dickson Street. As I’ve ranted before, once Dickson Street’s charm is pockmarked with big shiny boxes, the charm leaks away. At that point, the only reason to go there would be the WAC. With structures built as early as 1882, the street has been a treasure to alumni, residents, and visitors not to mention entrepreneurs who find small individual buildings more affordable housing for their dream enterprises. Slick new buildings such as The Legacy and The Dickson cost a lot more per square foot and offer ZERO charm. But hey, they’re new and shiny.

Some people don’t care about historical. Remember when they wanted to tear down Old Main?

If the city has determined on its own aside from Walton influence that an arts corridor is truly going to be an asset, something the city needs, then why not take half the current WAC lot and make it a park/arts corridor and use the other (west) half to build a parking garage. Simple. Just because this wasn’t considered in the original conceptualization of the project doesn’t mean it can’t be done.

Currently, the reason it ‘can’t’ be done is: “We spent about $350,000 on a schematic design,” [the city’s director of sustainability and parking] Nierengarten said. “A schematic design that does not show a parking deck on the civic plaza is what the citizens of Fayetteville voted on as part of the bond last April.” So let’s rush right out and spend $10 million building a deck that will primarily benefit a private developer and add one more nail in the coffin of one of only two historical areas left in Fayetteville.

Who first had the idea of a cultural arts corridor? Or a ‘civic plaza’? Why was the ‘study’ funded by a Walton Foundation grant? Why was a study of the area’s arts community, also initiated by unknown parties, contracted out to a Minnesota company named Artspace that developed a “Creative Economy Map” for the NWA region, also funded by a Walton Foundation grant? In this map, significant portions of the Fayetteville creative community fails to appear. (The map is heavy with Bentonville locations.)[3]

I agree that NWA and Fayetteville in particular is home to a large contingent of richly creative people. In the 1960s, Dickson Street became the town’s entertainment district because there was affordable commercial space where creative people built popular music venues that hosted talented musicians plus art studios and art galleries (now mostly priced out), and pursued skills as varied as tie-dye, jewelry, poetry readings, one-act plays, sculpture, metal work, and even outdoor gear that later became famous (Borealis). The result was a vibrant part of Fayetteville that attracted the Walton Arts Center.

In the tradition of The Little Shop of Horrors, the benefit of Walton money for the arts center (and so much more) is countered by the need to please the Waltons. As we’ve seen on multiple occasions, the money comes only when Fayetteville does what they want. For example, the outdoor concerts that started at the Fayetteville mall parking lot grew in popularity but now operate at the Arkansas Music Pavilion, otherwise known as the Walmart AMP, in Rogers, moved under Walton threat of withdrawing funding if they didn’t get their way.

No question that an arts corridor across from the WAC would primarily benefit the WAC but arguably, also the city. But the corridor will also infect the city’s trail system from Lafayette Street down to Center and then south to Prairie with a ‘cleanup’ of unsightly undergrowth and removal of wild aspects of those surroundings including partly channelizing the stream. Okay, the stream has been channelized for at least 100 years, rising from a big spring currently hidden under the WAC parking lot. That spring originally served as a water source and cooled produce and meat in the earliest industrial area of the town. From the WAC lot, the stream flows through underground ditches to Center St. and then comes into view for the distance to Prairie.

The rushing stream and the wildness of that stretch of the Frisco Trail has been a primary attraction to hikers and bikers. Now, as part of the arts corridor, that section of trail will suffer the imposition of installations of ‘art,’ as decided by various persons. Why, in the midst of our downtown, can we not have some unadulterated natural areas?

By the way, the rationale behind this concept is the same as the rationale allowing the natural woodland of Markham Hill to come under bulldozers, concrete, and x-number of persons per square foot in order to satisfy the bottom line of out-of-town developers. But that’s another story of greed, insider capitalization, and lack of spine/vision by the city government. The excuse is that there are only a handful of reasons city government can refuse a developer, none of which are impassioned pleas by neighbors, preservation of natural areas, or historical importance.

There’s still time to save what’s left of Dickson Street from any additional high rise buildings. (Too bad there wasn’t any protection of Dickson before The Legacy and The Dickson were built. And yes, big bucks can buy anything and do what they want in private ownership, but there can be city codes requiring that anything built in a historical area must meet historical design standards.)

A greater understanding of what voters want remains to be seen because the city didn’t fully inform voters of what the arts corridor et al would entail. No one is going to die if this project comes to a full stop right now and renewed efforts are made to educate the public about the ripple effects of the project – including the destruction of Dickson Street’s unique historical flavor.

Notice that only the depot out of the surrounding historical structures is shown to scale. If they were, viewers could more fully appreciate how the development would overpower its surroundings.

~~~

[1] https://www.arkansasonline.com/news/2020/jan/23/fayetteville-downtown-parking-deck-nego/?news-arkansas-nwa

[2] https://www.fayetteville-ar.gov/3539/2019-Bond-Information

[3] https://www.artspace.org/presentation-findings-northwest-arkansas

What Future, Fayetteville?

Fayetteville’s city government periodically yields to citizen outcry as one or another development project violates neighborhood norms or common sense. But the lessons never seem to stick, and the town with all its wonderful vintage atmosphere continues to hurtle toward mediocrity.

Currently, the landmark corner of Dickson and West is under dual assault, first from the renovation of the two old structures at the northeast corner. From their original 1904 construction, the sandstone block building at 430 W. Dickson and the red brick structure at 426-428 W. Dickson  became the Swingin’ Door in 1973. Then in 1994 the buildings became Ozark Brewing Company under the ownership of John Gilliam. The city failed to require Gilliam to maintain the original integrity of the old buildings and the result was a conglomeration that is now being dismantled by the latest owners.

Renovation in progress, 426 – 430 West Dickson

Tragically, instead of taking this moment in time to require the new owner to return the buildings to a semblance of their original appearance, perhaps aided by a city grant, the powers that be have allowed a redesign that will result in a slick modern look completely out of place in the midst of vintage buildings.

The second assault is a parking garage location recently chosen by the mayor which will finish off the vintage atmosphere along the 300 block of West Avenue north. This is where the Arsaga family has lovingly restored and repurposed an 1880’s railroad freight building into a thriving eatery. It is also where Richard and Gina Berquist restored a 1920’s building into a photography studio, performance venue, and other uses since renovation in 1990. Both these beautiful and beloved parts of the Dickson Street district as well as surrounding period structures would be either blocked from view or dwarfed by the mayor’s chosen location for a parking garage.

Spring Street garage

We’ve seen the city’s taste in parking garage design in the recent construction of the Spring Street garage adjacent to the Walton Arts Center, a big square box clad in—believe it or not—rusted metal panels. Rusted metal.

What a cutesy design, all avant garde and modern and stuff. Completely out of place in an entertainment district built on the Dickson Street ambiance of funky old turn-of-the-century buildings. The only forgiving aspect of this garage is its one-block distance and zero visibility from Dickson Street.

So what could be a better place for another parking garage than right across School Street from the Spring Street garage? This was one of three potential locations suggested by Garver Engineering in their study contracted by the city, the least intrusive into the visual heartbeat of Dickson. Why advocate for the West Avenue location?

Fayetteville’s history is most apparent in its old buildings. One glimpse around the Square or along Dickson Street and its cross streets is a look back in time to when individual buildings reflected the ambitions of proud owners and their bid for prosperity. Every time one of these period structures is ‘updated’ or demolished, more of the neighborhood’s charm and the community’s treasure is lost.

In their places, we find out-of-scale, out-of-sync monuments to greed and arrogance, multi-story behemoths like the full-block structure on the east side of the Square currently housing the U of A’s Pryor Center for Arkansas Oral and Visual History, or the Arvest Bank building on the northeast corner of the Square, or the E.J. Ball building at the northwest corner.

Originally the home of First National Bank, the building occupying the entire east frontage of the Square made a token effort toward traditional design. In a later effort to generate profit, condos were built on top.

 

EJ Ball building with a recent face lift, none of which can overcome its absurd size next to its neighbors.

Meanwhile, we have to ask why the city is currently allowing the owner of the Mountain Inn’s Arcade/Annex building to fold his hands while this Art Deco treasure disintegrates before our eyes.

On Dickson Street, there’s the first of the onslaught, the red brick Walton Arts Center which never considered fitting in and might have been acceptable except for the real estate feeding frenzy that followed: the Three Sisters building, the Legacy Building, and The Dickson.

Previously, this location included Restaurant on the Corner and The Grill. Now the Three Sisters building seems a bit unsure about what world it lives in.

 

Left foreground: Walton Arts Center. Left background: The Dickson with its eight stories.

No one person can afford to own any of these new Goliaths. No single business owner can stake a claim to any of these to open a bar, or a barber shop, or a used record store. These monsters have priced out all but the wealthy with expensive condos and precious boutiques instead of affordable apartments – despite the close proximity of the university campus and the screaming need for low-cost housing. We have bank- or corporate-owned real estate blocking traditional views and crowding access to venerable structures built on a human scale.

View of Arsaga’s that would vanish behind parking garage

Where do the profits of those massive buildings go? Out of town. What happens when a bustling eatery like Arsaga’s Depot goes out of business because it’s hidden behind a parking garage? A parking garage won’t hire those employees. How is this good for Fayetteville?

It would be easy to blame city planning for approving such flagrant violations of the old town feel, but that’s not where the buck stops. The city council is responsible for zoning and building codes—and those people are elected by a majority who either don’t know or don’t care about the town’s historical legacy.

Developers understandably expect to earn a profit on their investments, and in a time of high construction costs, the more than can be crammed onto an expensive footprint of land, the more profitable. The solution is height; where three or four stories might be semi-acceptable in these historic surroundings, only seven or eight stories break into the desired profit range. Keeping costs down means compromising on materials. Cut stone or even brick with its structural weight load doesn’t compare to sheets of inexpensive siding or glass.

I get it.

Folks, Fayetteville’s most treasured locations are being sold to the highest bidder. Currently, the city council’s lack of respect for our inherited wealth of time-honored buildings at the Square and along Dickson Street translates into increasing infiltration of inappropriate architecture. Is this due to a lack of understanding of the town’s history on the part of city council members? A lack of interest in preserving the town’s unique, irreplaceable qualities? A belief that new always means better?

Or is it the pressure from real estate developers whose entire motivation is profit? Taking advantage of the lack of vision of town fathers, they capitalize on places like Markham Hill, Dickson Street, and the Square to build their mega-structures. To hell with the town’s history, or its charm, or anything else.

Newsflash: The more these locations are infested with ‘modern’ buildings, the lower the real estate values become. It’s exactly the old buildings and the mood they invoke that creates the value in the first place.

If Fayettevillians wish to see rows of multi-story buildings veneered with steel and glass, they should focus on the mall and its surrounds. Or anywhere along College Avenue north of Township. No one expects to see quarried stone walls there, nor Art Deco portals carved in limestone or even trusty red brick. Quick and cheap, structures in the “Uptown” area include big boxes with clone-designed facades or strip malls of the same ilk.

Citizens who love this town should demand appropriate design regulations for irreplaceable parts of old Fayetteville. Yesterday isn’t soon enough. First step is to mount a vociferous campaign against the proposed parking garage location on West Avenue. One clever idea for an alternative, not suggested by the Garver Engineering study, would be to divide the existing Walton Arts Center parking lot lengthwise, dedicating the eastern strip to the desired park and walking trail, and the western strip along the railroad tracks to a garage.[1] A bonus of this idea is that no buildings would have to be torn down, a problem faced in the two Garver proposals aside from the West Avenue location.

Anyway, why does the city suddenly believe that an arts corridor and park in place of the existing WAC parking lot is the most important thing ever? It’s an absurd idea for such a large space in what is one of the town’s most desirable locations. Yes, parking is vital to the success of surrounding enterprises. But building a garage along the WAC lot’s west side leaves at least 300 feet width for the park and trail. And lots of art.

Dickson Street isn’t just Dickson Street. It’s the traditional entry to the University, hallowed ground to millions of alumni whose footsteps are worn into the sidewalks of Dickson, West, and School. It’s where George’s Majestic Lounge has reigned over nightlife since the 1920s. It’s where countless musicians have created their magic to the joy of thousands of fans, dancing the night away in venues like the Swingin’ Door, Red Lion/West Street, The Library/Chester’s, the Landing Strip/Dickson Street Theater, Dave’s on Dickson, Lily’s, and many other iterations crafted by entrepreneurs in those masterful old buildings.

Citizens have the power to demand protection for these historical locations. Dickson Street and its surrounds deserve new rules for preservation that prohibit any structures more than four stories, as does the town square. Renovations should follow strict building codes meant to preserve the ‘old town’ look. Any developer eager to construct warrens of rooms in towering buildings should look elsewhere.

The Legacy building looms over the popular 400 block of Dickson Street.

A more complete discussion of the parking garage issue can be found at the Fayetteville Flyer.

[1] https://www.nwaonline.com/news/2019/mar/14/parking-options-studied/

I’ll Be There!

Fall 2018, book signing event at West Fork library with the release of The West Fork Valley.

Hey, this is your engraved invitation to join me this coming Sunday Nov 10 at 2 pm. I’ll be at the Walker Community Room of the Fayetteville Public Library to read from several of my books. Refreshments will be served. I’ll have a few copies of my books to sell, if you’re so inclined.

The library regularly features local authors on their 2nd Sunday Local Authors Day, for which I’m privileged to appear this time around. But before you dismiss the idea of going, keep in mind that these presentations are also available through the library’s Livestream service. Visit the FPL Livestream page at https://livestream.com and get with the program!

It’s been a year since my last series of book signings, when I released the West Fork Valley. The library calendar link for my event Sunday says I’ll read from my collection of murder stories published in 2017, but actually I’m talking about or reading from ELEVEN books.

Those of you who know me well know I’d rather be shot than speak in public or to try to sell anything. Since you know I’ll be suffering, come on down and suffer with me. You’ll be glad you did.

Me with the infamous Denny Luke, book signing at Ozark Folkways for his biography, South County: Bunyard Road and the Personal Adventures of Denny Luke

The Phipps/Fulbright Mill and Arkansas Forests

Albright sawmill workers, Red Star (Madison County), 1918–1920. The white-oak logs came from the Fitch place on Reeves Mountain. They were 12 feet long, 44 inches in diameter, and each produced over 1,200 board feet of lumber. The logs were so heavy they had to be brought to the sawmill on a heavy-duty boiler wagon. Back, from left: Nathan Ward, Virgil Holland, and Newt Ward. Front, from left: Squire Eaton, Bill Killian, Temps Ward (barely visible), Dave Samuels, Jim Eaton (seated on ground), and Lewis Samuels. Frank Eaton Collection (S-87-55-20)

The longest lived of Fayetteville’s mills—although not located at Fayette Junction nor as far as can be determined was it originally dedicated to producing wagon parts—was that of J. H. Phipps, who had established his milling operations in 1898.  Phipps Lumber Company occupied a prominent location on the west side of old Fayetteville on the original Prairie Grove Road, now the site of a Chick-fil-A, Sonic fast-food drive-in, and Arby’s at the southeast corner of 6th Street and Razorback Road.

C. M. Jones and Company, Pettigrew (Madison County), 1910s. Bob Besom Collection (S-82-213-53)

By 1915, Mr. Phipps saw the coming decline of timber harvest along the established railways. Thirty-five years of frenzied sawing had cleared the hillsides within reasonable distance from the rail lines. Not willing to stand by and watch the decline of his profitable enterprise, he began developing a plan to reach the vast forests southeast into Franklin County. He bought thousands of acres of forest land in Madison and Franklin counties. He brought together Ed. E. Jeter of Combs, Jesse Phipps of St. Paul, and J. M. Williams and W. J. Reynolds of Fayetteville as partners in the formation of the Black Mountain and Eastern Railroad. They built a line that joined the St. Paul track at Combs and plunged south into the mountains.

According to Clifton Hull’s Shortline Railways of Arkansas, “There were trestles which spanned gulches 125 feet deep. At the Cass end of the line, the grade was so steep the locomotive couldn’t pull a car of logs up the mountain, so the cars were snaked to the summit one at a time by a team of oxen. In May 1916, the name was changed from the Black Mountain and Eastern to the Combs, Cass, and Eastern. It was abandoned in 1924.”[1]

Another short-term tangent for hauling logs sprang from the Pettigrew terminus, a tram line called the “spoke plant tram.” Railroad historian Tom Duggan notes that this line ran from the Little Mulberry River to a point several miles south of Pettigrew called Campground.[2]

Phipps sold out to Jay Fulbright in 1920, and by the time of the plant’s demolition in the 1980s, it was commonly known as the Fulbright mill. As late as the 1970s, local residents could visit the mill where an accommodating workman in overalls would deftly replace the hardwood handle of the hoe, shovel, rake, or other metal implement in question.

Sawmill, Goshen (Washington County), 1900s–1910s. The men in front hold cant hooks (metal hooks on wood poles) to turn the log on the carriage. Attached to the upright headblocks on the carriage are “dogs” which hold the log in place. Ruth Flanagan Collection (S-84-234-6)

In 1928, the plant was reportedly the “biggest plant of its kind west of the Mississippi.”[3]  During World War II, Phipps Lumber Company under the guidance of Bill Fulbright bought out Springfield Wagon Company and brought with it to Fayetteville “over a dozen new families…a sizeable payroll and…a market for more Arkansas timber.”[4]

Timber remains an important industry in Arkansas. Evidence of individual logging operations on private and public lands can be found in Pettigrew, where stacks of logs awaiting transport accumulate in the same place where the old railroad roundhouse was located. The hardwood forests of the Arkansas Ozarks have been the focus of nearly fifty years of conflict between forest industry participants and conservationists who want public forests protected from indiscriminate and harmful harvesting techniques such as clear cutting. Wildlife habitat, watershed protection, and recreational uses have become equally as important as the benefits of timber harvest.

In other parts of the state, timber production is largely a corporate enterprise involving pine “plantations” where mature pine crops are mechanically harvested, hybrid seedlings are planted, and native vegetation is “suppressed” by use of herbicides.

In 1997 the Arkansas Educational Television Network produced “Out of the Woods,” a documentary that “takes an in-depth look at Arkansas’ timber industry.”

“The program shows that farming, the railroad industry, and a boom in logging have forever changed Arkansas’ forests. Through forestry research, careful land management and restoration efforts, however, new forests in the Natural State are thriving. In a study of forested land in the state from 1988 to 1995, each region showed an increase in the number of acres reforested.”

Conservationists would argue the term “reforested,” pointing out that a monoculture of fast-growing pine has been established where mixed hardwood forest had grown.

The thirty-minute AETN video “demonstrates that harvesting timber is the state’s biggest industry. Giant paper mills, plywood plants and saw mills pump $1.4 billion dollars into Arkansas’ economy ever year. Fifteen percent of the entire Arkansas work force is employed in the timber industry. The industry provides 40,000 jobs and an annual payroll of $938 million. In southern Arkansas, the business of harvesting trees has given birth – and continues to sustain – small towns throughout the pine belt.”[5]

As a result of the massive clear cuts and the environmental degradation wrought by the timber boom period and/or the extreme topography of some areas, the government ended up owner of thousands of acres of cut-over, nonproductive land. This is particularly true in the rugged landscape of south and southeastern Washington County, southern Madison County, and northern Franklin County, which became the western part of the Ozark National Forest.

A poem preserved at Shiloh Museum provides a slice of life from the Phipps Lumber Mill operation:

Who’s Who and What They Do At Phipps

There’s a hard-wood plant near our city

An industry of highest rank

Manufacturing buggy, plow and wagon stock

And all kinds of hardwood plank.

Lee Moore is our good superintendent

And he’s always on the hop

For to manage a business like this is

Takes a man that knows no stop.

Bill Swaney is the master mechanic

He’s built many mills here and there

He studies and schemes and sets up machines

And keeps them in good repair.

Emmet W. Lucas

Is foreman of the shop

He don’t get around like a whirlwind

Yet he knows what his men are about.

Sam Swaney is the engineer

He keeps the engine running good

And when he pulls the big whistle

She roars like a bull in the woods.

Jim Dixon runs the jointer

And also the ripsaw too

And with his helper daddy Dodd

They put the timber through.

Frank Osburn runs the bandsaw

At this Frank has no match

It makes no difference what the pattern may be

For he saws it to the scratch.

At the plainer is Billie Winkle

Dressing timber all the day

While his helper daddie Bogan

Is trucking it away.

Mose Osburn runs the shaper

With arms like the legs of a mule

If its light or heavy it matters not

Mose shapes it good and true.

And when they start the big tongue machine

Oh you ought to hear her hum

But when it comes to keeping steam

Well, the fireman most has to run.

It makes both the tongues and double-trees

And finishes them up just right

And whether you work at the front or the rear

You’ve got to go in “high”.

Harvey, Crossno, Graham, and Harper

At the turning lay this they work

Turning yokes and spokes and singletrees

And have no time to shirk.

Sang Brothers are the sanders

And theirs is no easy task

They sand all day on yokes and spokes

But they finish them smooth as glass.

Shorty Smith and Edward Bogan

In the finish shed you’ll find

Grading spokes and felloes

And tieing them up with twine.

The work on the yard sometimes is hard

And sometimes it’s easy too

But if you haven’t some sand in your craw

Toating tongues won’t appeal to you.

Claud Guist is the loading boss on the yard

He loads the cars to their brims

Sometimes axles sometimes tongues

And sometimes hickory rims.

Or it may be felloes or wagon spokes

And a lot of singletrees too

And this is the motto of this plant

“Direct from the stump to you.”

Bob Hannah is foreman of the bending plant

Where they bend plow handles and rims

Vernon Swaney is the engineer

John Grissom keeps the steam.

Add Baker runs the big bender

Bending rims and wagon hawns

Etter Hannah does the “nailing out”

Chas. Minn does the “knocking down.”

Taylor Jordan runs the moulder

Dressing handles all to size

Geo Moore and Guage do the bending

And stack them away to dry.

I am the company’s wood-hauler

I’ve hauled wood this city o’er

And when I drive up to a woodshed

There’s always a smile at the door.

For the wood is sound oak and hickory

With sometimes some ash and gum

And the housewife knows as she fills up her stove

Her cooking will soon be done.

And then when Tuesday rolls around

We all look for “Uncle Jay”

For he’s the man who has the stamps

And we always get our pay.

So we’re a jolly good bunch of “hardwooders”

Earning bread as best we know how

For it was spoken in the garden of Eden

Thou shalt live by the sweat of thy brow.

by B. W. Sivage

(Woodhauler)

 

Log train at J. H. Phipps Lumber Company, Fayetteville (Washington County), 1912. Burch Grabill, photographer. Robert Saunders Collection (S-96-2-452)

Photographs from the website of Shiloh Museum, https://shilohmuseum.org/project/timber/

~~~

[1] Hull

[2] Personal communication to the author, postcard dated February 2004.

[3] Campbell p 39

[4] Northwest Arkansas Times undated clip, front page; Box 20, file 13 WCHS vertical files, UA Special Collections

[5] See http://www.aetn.org/OOTW/

[Excerpted from Glimpses of Fayetteville’s Past, The History of Fayette Junction by Denele Campbell]

Dickson Street — Stayin’ Alive

Courtesy Fayetteville Visitor’s Bureau

The heart of Dickson Street runs six blocks east from the southeast corner of Fayetteville’s University of Arkansas campus. After one hundred years of industrial and commercial development that came with the railroad, entertainment took over. By the 1970s, bars and nightclubs thrived in the run-down buildings alongside old school barber shops, pawn shops, artist studios, restaurants, and head shops. The sound of live music filled the night air. Patrons from all over the region flocked to the street to mingle with co-eds, quaff a few beers and cheer on the rock ‘n’ roll. The alternative community centered at the street; walking down the sidewalk meant seeing and greeting old friends and meeting new ones.

The 80s saw further decline and the emergence of tawdriness and then with the arrival of the Walton Arts Center in the 1990s and concurrent rising rent, the magic started to drip away like water through fingers. Depending on the point of view, Dickson Street is now either a thriving commercial mecca or a faint shadow of its former glory. In 2004, an article in the bi-monthly tabloid All About Town addressed the issue of Dickson Street and the decline of the music scene. And not for the first time.  The first such complaints appeared in an earlier tabloid, The Grapevine, in the 1980s and periodically become the focus of community consternation. Some of it has to do with changing demographics. The people who packed the live music venues in the 1970s were staying at home to raise families in the 1980s. Each generation enjoys its high points on the street then subsides into other activities as years pass.

Nevertheless, the article does a good job of peeling back the layers to discover some basic issues. From that, city leaders, musicians, club owners, and other interested fans of the street might derive some workable ideas of how to ensure that the Dickson Street scene never dies.

Five reasons were cited, which have been added to for this piece.

1. Club owners have to pay the bills. That includes ever increasing costs for rent, utilities, wages for employees, advertising, insurance, supplies like glassware and napkins, and inventory of alcohol and any other items served. Back in the day, rent on Dickson Street reflected the run-down nature of the real estate. Now with gentrification all around, rent has skyrocketed. Also, there’s increasing pressure to pay higher wages, utilities keep going up, and … well, it’s all about the money. The clubs count on alcohol sales to generate the profits they need to keep their heads above water. Some bands don’t attract people who like to drink. And people who like to drink have increasingly begun to patronize stand-up bars.

“Stand-up bars are easier to operate,” said Dave Bass, formerly of Dave’s on Dickson and later yielding to the inevitable by opening two stand-up bars, The Blue Parrot and 414. “It’s impossible to make live music work during the week, and you can’t be open two days a week and make a living.” He admitted losing money with his live music at Dave’s.

2. People don’t want to pay a cover charge. Many people don’t realize that a cover charge is the only way to pay a band to play. As veteran performer Jed Clampit pointed out, “You don’t get free drinks, but you want free music. Think about going to your job and working for free.” Owner/operator of George’s, Brian Crowne said “People will think nothing of paying $7 or $8 for a two-hour movie but gripe about paying $5 for live, professional entertainment for four hours.”

Another problem for club owners and bands is that many young people today prefer to float from place to place depending on where their friends might be. A friend might text and want to meet them at a specific location. A half hour later, the two friends might decide to go to a third location. Cover charges don’t work for that kind of activity where the objective is socializing, not watching a particular band perform.

3. There are too many clubs and too many bands. Bringing live music to a particular venue requires a lot of upfront investment in securing the band, promoting the event, and doing as much as possible to bring in a crowd. If multiple venues compete for the club-going public, there’s less to go around. That’s the basic math. But there’s no shortage of aspiring bands whose goal of wealth and fame requires building a local following first. Also, painful as it is to recognize, there’s a big disconnect between the many musicians who want to write original songs and audiences who want to hear familiar music. This particular problem is exacerbated by the fact that record deals and other important steps on the road to wealth and fame depend on original music. Nobody wants to record the 38th cover of “Proud Mary.”

Wade Ogle, veteran of the Fayetteville music scene, says the quality of new bands isn’t what it used to be. “With today’s technology, practically everyone can record a CD cheaply. While I think it’s a good thing, the downside is that way too many new bands are looking to play live before they’re really ready.”

So bands thread a narrow line, forced to invest in decent equipment and hours/months of practice until they can get booked to play and then play covers of popular music in their chosen genre while at the same time working on original songs that might be worthy of record label or promoter interest. If they manage to get booked into a club and they’re not ready, people who bother to show up are turned off to live music in general.

4. There aren’t enough fans. This wasn’t so much a problem in the ‘70s when the Baby Boomers came through en masse, the right age and right mindset to thrive on live music. You could almost say that live music was part of their religion. Alas, those days have passed. Somewhat smaller subsequent generations don’t necessarily take song lyrics as their personal anthems. Some might even allege that popular music today can’t hold a candle to the music being created in the ‘60s and ‘70s. With the rise of digital media, music suited to personal taste is available any day, any time, and any place. Free. Why go to a club and pay a cover charge when you can listen to what you like at home? One benefit of live music will never change, however, and that is the attraction of mingling in a crowd of enthusiastic fans, dancing to the same beat and being part of the ‘family.’

5. The town and Dickson Street itself have changed. Yes, this is a big factor. Fayetteville’s population has tripled since the 1970s, and University enrollment has increased from around 15,000 in 1980 to over 50,000 in 2019. More cars and the infill of properties near Dickson means much less parking plus much of the available parking is now metered. Clubs with occasional live music have sprung up along North College Avenue and near the Northwest Arkansas Mall, meaning competition for Dickson Street. Also, until recent years, Dickson Street was the place to party for the entire region. Now that Benton County allows alcohol to be served, clubs have sprung up there like dandelions in early spring. In particular, the Arkansas Music Pavilion (AMP) at Rogers has created a major performance venue for big name performers that in the past would have appeared only in Fayetteville.

Slogans like “Keep Fayetteville Funky” notwithstanding, times change. We change. It’s inconceivable to think that a day might come when Dickson Street would no longer vibrate with the heartbeat of live music and of people streaming through the doors to hear it, commune with each other, and let their hair down. But the world is, after all, what we individually and collectively make it, and it behooves us to not let such a good thing slip unnoticed into the shadows of the past. Dickson Street has been an institution as well as a collective of our entertainment experiences. We have to pay attention and do what we must to keep it that way.

 

~~~

“A brief history of why artists are no longer making a living making music,” by Ian Tamblyn

Gem’s Gems

Excerpted from the book, Gem’s Gems — a memoir of my mother, Carmyn Gem [Morrow] Pitts.

[Her father Tom Morrow] ventured east into Madison County and ended up at St. Paul where the logging boom was in full steam. He brought his family to live first in a small house northwest of St. Paul before settling into the Casteel place, a two-story house with a bay window and porches upstairs and down, high upon a mountainside overlooking the White River Valley. They enjoyed a glorious summer in this scenic valley before cotton-picking time called them back to Texas.

Tom gathered his St. Paul crops and left Grandpa Clark in charge of the house and getting the sorghum cane to the mill. Left behind was the furniture—a wood burning cookstove, iron bedsteads and bedding, a rocking chair, table and benches, a marble-top round table, Sylvia’s “Princess” dresser with oval mirror, a small drop leaf desk, and a “matting” box with hinged lid Tom had built out of lathe for Sylvia’s quilts [Carmyn’s mother]. The family packed their “batchin’” equipment—a camp stove, a few quilts, feather bed, and feather bolsters, a white enamel bucket with plates, cups, and two serving bowls, the iron skillet, and a deep aluminum stewer Sylvia used to soak whole grain wheat overnight—into the beloved Baby Overland and headed south. Not left behind were the family cat Snowball and the German Shepherd dog “Lightnin’,” who rode on the fender.

On the journey, they stopped along the road each night and made campfires to cook supper. They would stop at a house to ask if they could get water at their spring and camp for the night. Mama made pallets for the younger children to sleep on in the truck and Papa, Durward, Douglas and Graydon slept on pallets on the ground under the truck. Once when they stopped at a house and asked to use the spring, the lady of the house brought them fresh buttermilk.

Littlefield Texas cotton-pickin’ shack. January 1929 L-R: Douglas with dog Trixie True, Graydon, Joy with cat Snowball, Tomazine “Sister,” Carmyn holding her doll Prudence, Una Mae in Durward’s lap

Upon arriving in Texas, they lived first in a cotton-picking shack at one of Sylvia’s sister’s place in Grayson County. After picking for two weeks, they moved on to another of Sylvia’s sister’s farms near Vera in Knox County where they stayed for four weeks. The shacks were crudely built one-room structures about twelve feet by fourteen feet with two windows and a door. Aunt Lillian fixed up their shack at Crosby County for her sister Sylvia and family to live in, scrubbed clean with curtains on the windows. She loaned them a coal-oil stove with an oven. They picked their cotton for three weeks and then finished the season in a shack near Morrison.

In the winter of 1928, the Tom and Sylvia Morrow family moved back to the Casteel place in St. Paul, Arkansas, but Grandpa Clark convinced Tom that the ground was too rocky for farming, so they rented a house together—the Greenway place—about 1.5 miles southwest of Springdale (near the present-day Wal-Mart). It was a temporary home for the two weeks it took Tom to find “Trouble’s End,” the name of the place in Springdale that was their first home with a bathroom and running water. Their seventh child Una May was born here. They had apples and strawberries, and were joined again by the grandparents, who again kept the house when Tom began preparing his family for another summer run back to Texas to pick cotton.

Austin Place, Springdale Arkansas August 1929 Tomazine and Una May

Tom traded the Baby Overland for a big truck, made a wooden box for the pet cat and a puppy to ride in, and the German Shepherd rode on the fender. On the journey, Sylvia and girls slept in the truck while Tom and the boys slept on pallets under the truck. Back in Texas, near Littlefield, they lived in a shack and picked cotton, but the kids all came down with whooping cough, so they couldn’t return to Arkansas until March 1929.

Back in Springdale, they discovered that Grandpa Clark had failed to pay rent at “Trouble’s End,” and had moved three miles east of Springdale to the Crane place. He had rented a nearby house, the Austin place, for Tom’s family, but it was only one bedroom. Tom closed in the breezeway to the smokehouse to provide more room, but that fall he found the Nix place with three bedrooms and a big corner porch. He moved the family there and went to Texas to haul grain from November until February 1930.

Tom Morrow with his mule team, baby on the wagon seat

 

Read the rest of Gem’s Gems! Available at Amazon.com

The Red-Headed Bug

The car kicked up a cloud of dust as I hurtled down the long driveway. In my rush, I turned onto the county road and traveled another half mile before I noticed the creature that held on furiously just outside my side window, some kind of small waspish fly, its bulbous eyes perched like wire-rimmed glasses on its orangey-maroon head, its tidy black veined wings tucked sleekly along the sides of its narrow black thorax. Its thin legs flexed and strained to remain anchored in spite of the force of the air stream as I sped along.

This was not a singular event. My rural wooded property hosts bugs of infinite variety, some of which end up resting on my car.  On any given trip to town, I might inadvertently transport tan walking sticks, red, yellow, or black wasps, skinny dirt-daubers, black, blue, or green flies, beetles of every conceivable shape and shade, spiders, ticks, bees, mosquitos, gallinippers, moths, ants of assorted size, and any other of so many multiple-legged beings that I suspect some of them have, to date, escaped scientific classification.

Notable creatures such as the saddle-backed, black stinkbug or the lime green praying mantis usually merit my immediate pull-over, where I carefully remove them to roadside vegetation wondering if they find any advantage in new territory. I’ve considered whether higher insect intelligences, like flies, might purposefully plan for such transport. One large green fly made it all the way to town, having carefully positioned himself in a joint of the windshield wiper, perhaps with a particular lady city-fly in mind.

I rarely see them as I load in my gear, back up, and drive away, not until I have picked up speed, until they begin to slide, inexorably, across the waxed paint of the car’s body or the smooth glass of the windshield. They ride in ignorance, misunderstanding the threat. From their egocentric viewpoint, the problem is not that they are unwitting passengers on the rides of their lives, but simply that a strong wind has sprung up.

The challenge is to hold fast.

On this particular morning, the red-headed fly had arrived at my parked car door, at what seemed a perfectly fine spot to rest, groom, and digest his latest meal. As I began driving and the sudden gale blustered around him, he braced himself, securing every foot firmly to the spot. He had no concepts through which to anticipate that his greatest risk came with hanging on to what seemed familiar surroundings, that ultimately he would be farther away from what he knew and desired than he would have been if he had simply let go.

As I cruised along the road, the tiny red and black fly gripped ever more frantically to maintain his hold. In order to offer the least wind resistance, his body bent and contorted, stretched and elongated, the severity of his effort betrayed by erratic flare-ups of his wing tips.  Staring at me through the side window glass, he seemed to question me in panicky stares.

I advised him based on my previous experience.

Some bugs come to a forty mile per hour realization, I said. While I’m still on this back road, in a serendipitous flash of insight, they let go.

I waited for his response. He tensely adjusted his wings and aimed his head more into the wind.

After some scary free fall, I continued, they find themselves in the thickets near Miller’s pond. We drove farther and his stance remained resolute.

Or in the rocky ditch, I said, or in the middle of Mr. Breedlove’s herd of Angus. Wherever you might find yourself, I’m sure you could optimize the situation—you know, discover a trove of aphids or a lonely female.

I glanced to see if he was listening. The red-black fly showed no hint of a high-speed epiphany but instead re-exerted his desperate clench.

Ignoring the urging of my more generous side, I accepted little ongoing responsibility as to the fly’s future well-being. It was, after all, an insect. And I was in a hurry.

The road merged onto the highway, and I accelerated. Listening to the radio, absorbed in anticipating my day’s schedule, and maneuvering through heavy traffic, I failed to notice when his tiny sticky foot pads ripped loose from the slick paint of my car door.

Halfway into town, I realized he was gone.

Briefly, I suffered anxiety on his behalf. Had he made his leap at the right moment, I wondered? Was his grip torn free in the surge of a passing truck, bringing him to join countless distant kinsmen already pasted to its front grill?

Had he ever understood the threat?

Had he understood and somehow just hadn’t figured out the best timing?

I narrowed my thoughts to more pressing considerations. The city lay ahead. In a continuing ethical quandary about my role in the greater scheme of things, I decided to believe that he knew what he was doing all along and got off right where he intended.

Excerpted from my book, I Met a Goat on the Road:

Ebook and Paperback available at your local bookstore or at Amazon.com


A little murder with your lemonade?

What could be more interesting summer reading than murder stories from the 1800s? This collection of fifty stories cover the earliest years of Arkansas statehood, Civil War atrocities, and a shoot-out on Fayetteville’s town square. All the murders occurred in Washington County Arkansas, a mild-mannered place by any other account.

Here’s just one chapter:

On an icy Wednesday January 24, 1872, in a field on the Rev. Riley Jones’ place near Black Oak in eastern Washington County, two young men set about the task of feeding livestock, Riley’s 21-year-old son James Cornelius ‘Nealy’ Jones and Henry Durham, age unknown. Durham had been taken in by the Jones family and lived there as part of the family.

As young men often do, the two exchanged jokes, lies, and dares as they pitched hay off the wagon. According to later accounts, Jones was ribbing Durham pretty hard about some trivial matter.[1] Before either of them realized how or when, the mood changed. The jokes became insults and the dares became threats.  Biting cold set their teeth on edge as they faced each other. Tempers ignited and before anyone paused to think, Durham charged Jones with the pitchfork. One of the tines pierced his coat and went straight to his heart.

Suddenly young ‘Nealy’ Jones lay dying on the field as Henry stood over him watching in disbelief.

Despite Durham’s efforts to resuscitate him, Jones did not revive. Roused by Durham’s shouts, Riley Jones came running to his dying son. But it was too late. They carried the body inside while someone went for the township constable.

The Reverend Riley Jones and his wife Nancy had arrived in Washington County between 1850 and 1860 to settle near his three younger brothers Clairborne, Enoch, and James Jones, all natives of Hawkins County, Tennessee who had arrived in Washington County some years earlier. The descendants of all four brothers would mingle in county records forever after. [2]

Riley took up residence in the Middle Fork Valley near Carter’s Store. Age fifty-five in 1860, Riley and his wife Nancy Bailey had gained eleven children over the years of their marriage including nine daughters and two sons. The couple had suffered their share of tragedy. One daughter died in infancy. Another daughter Eliza Tabitha died unexpectedly June 21, 1861, six days after giving birth to her fifth child Benjamin Calhoun. Eliza’s husband, Pleasant Riley Jones (probably her first cousin),[3] remained to grieve with their children: Jesse 13, John 11, David 9, and William 7—as well as the newborn Benjamin.

With war breaking out all around, in the summer of 1862, Pleasant joined up with the 1st Cavalry Regiment Arkansas (C.S.A.), leaving his children in the care of Eliza’s parents Riley and Nancy.[4] According to family records, his unit met Union forces November 1 at Cross Hollow. Pleasant was killed in a skirmish on November 29.[5] Also lost that fateful year was Absolom Abraham Jones, the older of the two Jones sons, who died at age 27 while engaged in Civil War combat in Northwest Arkansas.

With the deaths of Eliza and now Pleasant, Eliza’s parents Riley and Nancy Jones became the caretakers of their four orphaned grandchildren. For the next five years, the family suffered the deprivations of continued guerrilla warfare that plagued north Arkansas even after the war ended. But in August 1871, they celebrated the promise of a new marriage when the baby of the family, James Cornelius “Nealy” Jones, joined with Matilda Lewis, the lovely young daughter of George Washington Lewis who operated the Lewis Mill on the Middle Fork of White River.

Now a freak encounter had ended Cornelius’ life. In disbelief, the Reverend Riley Jones controlled his rage and grief as he waited for the constable to remove Henry Durham from the premises.  At least with the murderer in custody, he would gain justice for his son’s premature and tragic death. Finally the constable arrived and took the shaken Henry Durham to the local lock-up.

Call it fate. Call it karma. What happened next would be the only semblance of justice in this case. The next morning, the constable left a young man named Lewis, probably a relative of Matilda, in charge of the prisoner while he went for his breakfast. Sensing an opportunity and facing possible execution by hanging, Henry Durham made a run for it. Ignoring Lewis’ demand to halt, Durham pursued his escape. Prepared with a loaded weapon, Lewis fired, striking Durham with a fatal gunshot.

Research has not discovered whether Henry Durham was in any way connected to the naming of the nearby community of Durham. In fact, the only record of this name other than the few facts noted so far is a listing of his name in the 1869 personal property tax records for Washington County. Of further note, a few versions of the story claim that Henry Durham killed Nealy Jones with a knife rather than a pitchfork. But dead is dead and both men found their end on back-to-back frigid January days.

‘Nealy’ Jones was buried beside his brother Absolom and his sister Eliza at Mt. Zion Cemetery. Henry Durham was buried at Reese Cemetery in an unmarked grave.

Finally, a post script about Matilda Lewis Jones. After only five happy months of married life, the young woman had become a widow. In August 1873, eighteen months after the death of Cornelius, Matilda married again, this time to Cornelius’ cousin William Newton Jones, the son of the Rev. Clairborne Jones, Riley  Jones’ brother. Newton Jones will figure prominently in another murder story in Chapter 21.

An interesting story about Matilda involved a recently freed slave named Mary Ann. At the end of the Civil War, slaveholders were required to release all slaves. The owner of Mary Ann wanted to sell her despite the new law. Seeing the value in a young mixed race girl of about fifteen years at the time, the owner expected to receive a thousand dollars for her.

Hearing of Mary Ann’s fervent wish not to be sold, Matilda’s father George Lewis offered Mary Ann work at his household if she wished to leave her former ‘owner.’ (Some rumors alleged the ‘owner’ was in fact her father. Begetting mixed race children upon slaves was a common practice among some slave owners. The act was seen as ‘bettering’ the negro race.) This intervention of Lewis in facilitating her ‘escape’ caused a permanent rift between him and the former slave’s ‘owner’.

Mary Ann eagerly accepted Mr. Lewis’ offer and the young woman flourished in her new home. About five years later, in January 1874, Mary Ann became sick and died. With travel impossible in the icy weather, Matilda contributed her twice-used wedding dress as a burial shroud for Mary Ann, who was then laid to rest in an unmarked grave at the east end of Reese Cemetery.[6]

Get your copy of Murder in the County at Amazon.com

~~~

[1] Fayetteville Democrat January 27, 1872

[2] More on the Jones family in Appendix of Selected Family Histories, Jones, p 394

[3] Pleasant’s father, John Jones, was born in 1789 at Hawkins County, Tennessee. Eliza’s father Riley Jones was born in 1805 in the same county.

[4] The 1st Cavalry Regiment, Arkansas State Troops (1861), was an Arkansas cavalry regiment during the American Civil War. The regiment was organized at Camp Walker near Harmony Springs, Benton County, Arkansas. The regiment was officially designated as the Third Regiment (Cavalry), Arkansas State Troops by the State Military Board but was designated as the 1st Arkansas Cavalry by Brigadier General Nicholas Bartlett Pearce, Commander, 1st Division, Provisional Army of Arkansas. The regiment is referred to as “Carroll’s Regiment” in contemporary accounts.

[5] Family records may be in error here. A large Confederate encampment at Cross Hollow was left in smoldering ruins before a Union advance in February 1862. With the Battle of Pea Ridge in early March 1862, Confederates retreated south from Benton County. With a death date of November 29, 1862, Pleasant Jones may have died in the run-up to the Battle of Prairie Grove, perhaps in the November 28 Battle of Cane Hill.

[6] Coley, Cheri. “The Rest of the Story…Sort of:” Washington County Arkansas Genealogical Society newsletter June 2005.  http://wcags.org/?page_id=784