Sep 062023
 

Lead mine along Pearson Creek, circa 1900. Commercial extraction of lead here began in the 1840s and ended around 1920. Remnants of lead diggings can be seen in the hills along lower Pearson Creek.

In Schoolcraft’s 1819 account, A View of the Lead Mines of Missouri, he wrote, “On the immediate banks of James River are situated some valuable lead mines, which have been known to the Osage Indians and to some White River hunters, for many years.”

The young New York explorer repeatedly expressed astonishment at the clarity of Ozark streams. At his James River camp at the lead mine he observed lumps of ore “through the water, which is very clear and transparent.” Other Ozark regions had much vaster commercial lead deposits. These diggings along the James River left unsightly holes and the potential for lead contamination.

Dr. Robert T. Pavlowsky and his associates and students at Missouri State University’s Ozark Environmental and Water Resources Institute have investigated the effect of these old mines on water quality. They found lead contamination from mine waste has been stored in alluvial deposits of floodplains. Lead that washed into streams is now embedded in sediments in Pearson Creek and the James River. It will eventually degrade, but there is a danger if channel instability uncovers this mining-related metal contamination.

 

Taken from James Fork of the White: Transformation of an Ozark River, now on sale for $17.50 (half price) postage paid, at www.beautifulozarks.com

Aug 272023
 

Real photo postcard, 1920s, Ozark, Missouri. Wooden covered bridges were never common and very few survive. Iron bridges were abundant and with maintenance, many remain in use today.

The logo of the City of Ozark features the 1922 iron bridge under which flows the Finley River and the motto of the growing community is “Bridging strong tradition with bright futures.”

The flood of July 9, 1909 was the greatest on record (although records may be updated when the floods of the last few years are counted). Soon after this photograph was taken the covered bridge floated off its piers and crashed into the railroad bridge visible downstream.

The Christian County court advertised for bids for a replacement just five days after it washed away. That month they contracted with the Canton (Ohio) Bridge Company to build a metal span for $3,648.

Covered bridges evoke the past even more than old metal truss bridges. The popular belief that they were constructed to keep from spooking horses may have some validity, but primarily their enclosure was to protect the wood trusses from the elements. Few have survived anyway. Only four remain in Missouri.

Taken from James Fork of the White: Transformation of an Ozark River, now on sale for $17.50 (half price) postage paid, at www.beautifulozarks.com

Aug 012023
 

Domino Danzero photograph, circa 1922, of his family picnicking at Sequiota Park. In spite of changes in name, ownership, and utilization, the cave and spring at Sequiota Park still retain a natural ambience that visitors find picturesque.

In 2011 the Springfield-Greene County Park Board held a ribbon cutting ceremony for the completion of a $1.8 million “facelift to the much-needed natural water environment of Sequiota Park.” Considering the variety and intensity of utilizations of the place over the last century, that expenditure seems justified.

Fisher Cave, as the larger cave on the property was originally known, was bought in 1913 for $10,000 by H. E. Peterson, who renamed it Sequiota, which he claimed was an Indian word. The Frisco line ran a motor car service to what they called Se-qui-o-ta Park. Springfieldians flocked to picnic, fish in the small lake, and take boat rides in the cave whose water level was raised by a four-foot dam. More than a thousand feet can be viewed by boat. Cave explorers have mapped another 1,600 feet of passages.

The Missouri State Fish Commission bought the property in 1920 for $23,000 and used the strong spring that flowed from the cave to create a fish hatchery. Both smallmouth bass and rainbow trout were raised. When Table Rock Dam was completed and its discharges proved too cold for native fish, the Shepherd of the Hills Trout Hatchery was built below the dam. Sequiota’s hatchery equipment and manager went south in 1959 to the new facility at Branson. Springfield was deeded the property. It has continued to attract crowds, although boat tours of the main cave are limited and seasonal to protect hibernating endangered gray bats.

Taken from James Fork of the White: Transformation of an Ozark River, now on sale for $17.50 (half price) postage paid, at www.beautifulozarks.com

Jul 232023
 

It’s a guided tour of the bygone and often amusingly naïve efforts to attract travelers and tourists of the Ozark hills of southern Missouri and northern Arkansas. Up front is a disclaimer, “Okay faithful readers, this is your final warning. If you have an aversion to traditional hillbilly stereotypes such as these, you are advised to turn around and go back right now, because things are only going to get worse from here.” Scruffy mountaineers are indeed a regional icon, but they have apparently left the roadsides retreating deeper into the woods. Today’s motifs are more likely to be borrowed from popular culture. In Chapter One, “Thar’s Gold in Them Thar Hillbillies,” the shift is noted:

“Today’s young people are totally unfamiliar with the traditional “hillbilly” image made famous by movies, television, cartoons and the tourism industry. There are no doubt many mountain residents who consider that a good thing, but there was indeed a time when the depiction of the lazy, bearded hillbilly with floppy hat and accompanying hound dog was among the most popular graphics of the Ozarks.”

Remnants of hillbilly signage are scarce and in shabby shape. The book compensates for this by using pristine examples photographed by John Margolies, the godfather of roadside Americana. His sharp color-saturated depictions of crazy attractions enliven the review of past Ozark tourism. A chrome orange billboard for Dogpatch USA is on the cover. Tim Hollis has an enormous archive of memorabilia, tourist literature and souvenirs. They too of course are still vivid and contrast with contemporary shots of decaying and abandoned attractions.

Hollis is a superb tour guide. His corny humor notwithstanding, it must be admitted this stuff invites satiric comment. He is addicted to Hee-Haw humor. Among his 39 published titles is Rural Comedy in the Twentieth Century. It was published, as were a number of other of his pop culture studies, by the University Press of Mississippi.

This profusely illustrated, well organized and researched book was a breezy read. Hollis’ approach is neither condescending nor campy. The awesome capacity of roadside attractions to be tastelessly compelling is proven. As he admonished in the beginning: if you’re troubled by the cliches of moonshine-making hill folk, this won’t be a book for you. Of all regional and ethnic stereotypes, the Ozark mountaineer has largely skirted controversy.

A strength of this book is that the author visited many of the shuttered tourist businesses and reports on the actualities of their demise. He also reached out to fellow aficionados of roadside culture. Count us as one. We supplied several photographs and three of our Ozarks books are listed in the bibliography.

Tim Hollis has successfully portrayed these perished attractions because he is in sync with their goofy charm and wondrous indifference to good taste.

Lost Attractions of the Ozarks is the latest in Tim Hollis’s series of Lost Attractions of… books published by The History Press, Charleston, SC. 144 pages, 6 x 9, $23.99.

Available at the publisher’s website, and on amazon.com  and Barnes & Noble

Mar 032023
 

Brooks Blevins lectures frequently after the publication of his many studies of the Ozarks.

5-Star Review of Brooks Blevins new book by Leland Payton

National and regional identities may not have disappeared but what defines a people and their relationship with place has undergone evolution. Colorful identities are challenged by the homogenization of modernization. In rural regions, more than in urban, lifestyle relates more to geographic specificities. A rural place’s reputation may not have been created by—or accurately reflect the perceptions of, its natives. Academic studies of the Ozarks are scarce compared to other regions of the U.S. Tourism and popular culture have largely shaped its image, but not always falsely, Blevins concedes.

Brooks Blevins’ latest take is Up South in the Ozarks. Subtitled, Dispatches from the Margins, Blevins challenges the overall accuracy of the place’s most dominant symbol, the hillbilly, but acknowledges that the definition of a region needs to account for its clichés. Curiously, many Ozarkers accept cartoonish rustic depictions. Professor Blevins melds academic expertise from many disciplines— an appreciation for folklore, familiarity with both literature and journalism—with the personal, insightful observations of a native son. His encyclopedic geographic and historical knowledge is delivered with humor and a talent for metaphor. Throughout he contrasts and compares this Midwestern river-cut uplifted plateau with both the Deep South and the Appalachian Mountains.

Missionaries and writers descended on the southern highlands of Appalachia before they came to save souls or describe the more isolated Ozarks. In the chapter, “A Time Zone Away and a Generation Behind,” he analogizes the Ozarks to a younger sibling: “You were never first, never original, never completely yourself. Even at school, your teachers knew you as your big brother’s little brother. If that’s your story, you know how the Ozarks feels.”

His chapter, “The South According to Andy,” makes the case that the 1960s TV show set in a fictional mountain south small town was a portrait well received by Ozarkers: “Andy’s South was not the South. It was a South. … It was a projection of something quite southern, even if not a complete portrait of the South.”

Dr. Blevins doesn’t idealize the Ozarks. He confronts the idea that the mountain south was exempt from the past racial prejudices that characterize the Deep South. In “Revisiting Race Relations in the Upland South,” he admits his earlier position based on that premise was wrong: “But the equation of a small Black population with a comparative degree of racial harmony has not always appeared so self-evident to scholars and observers of the South.” He follows facts down unmapped, rocky trails no matter where they lead.

A generational lag in scholarship he believes may be closing: “In 2010, Missouri State University established the region’s first Ozarks Studies minor for undergraduates. Five years later, the University of Arkansas Press launched a monograph series in Ozarks Studies. (They published this book). We may never be first in the Ozarks, but we get around to it eventually. Such is the life of a regional little sibling.”  Blevins is on the board of the Ozarks Studies Institute, an initiative of the Missouri State University Libraries. Dr. Blevins also teaches classes on Ozark history at MSU.

Up South in the Ozarks seeks the nuanced realities of a large, misunderstood region that is paradoxically both romanticized and maligned. Brooks Blevins cherishes the Ozarks and believes its story is worthy of an honest telling, quirky, droll, and marginal as its realities often are.

Available from the University of Arkansas Press, Amazon.com, and Barnes & Noble.

Jan 102023
 

1950s mailing piece for Jim Owen’s famed float fishing enterprise

After the publication of James Fork of the White, we acquired this brochure with the photo of Jim Owen holding up a stringer of bass. It is not dated but it refers to Bull Shoals as “one of the best fishing lakes in the United States.” It also states that Owen can arrange five- or six-day trips on the James River. The four-panel promotion for his float services must have been produced between 1951 (Bull Shoals) and 1958 (Table Rock Dam, which ended long James River float trips). If we’d had it then, we would have noted his enthusiasm for the new reservoir was surprising, given his long opposition to Corps of Engineers projects that turned free flowing rivers into ponds. The cigar chomping float trip king went with the flow – or, in this case, lack of it. “As usual ole’ man Owen is ready to take care of your fishin’ on the new lake.”

Bass Pro founder John Morris recalled Jim Owen’s influence on the evolution of Ozarks outdoor recreation in a 2012 interview with Ed Fillmer, video journalist. “He was a very colorful character. Great promoter of the natural beauty and the Ozarks. The guides – sometimes they would have to paddle hard through eddies, but mainly drifting through the river, there’s not too many rapids. A little bit of hillbilly thrown in there.”

Fillmer commented, “All along, Owen was a conservationist, stressing to his guests, nature’s balance in the forests and rivers of the Ozarks. For example, Owen insisted they keep only enough fish to enjoy in that evening’s fish fry, returning the rest of the catch to the river.”

Morris: “In a way, that ties back in to helping to preserve what we have here, these resources, these rivers and streams and how important it is to take care of our rivers and water.” Modern fishing tournaments, which the Bass Pro CEO once competed in, are catch-and-release.

Bass Pro’s White River Fish House, a floating restaurant on Taneycomo in Branson, “is kind of a salute to Jim Owen,” said Morris. The restaurant displays an historic Owen Boat Line johnboat, with photos and memorabilia.

Like Morris, Owen had many irons in his Ozarks’ campfire. He somehow found time to be Mayor of Branson, bank president, breeder of foxhounds, car dealer, a movie theater operator, restaurateur, and, with Charlie Barnes, a manufacturer of johnboats.

Johnny Morris’s empire has exceeded Jim Owen’s portfolio a thousand-fold, but both entrepreneurs artfully adapted Ozarks traditions to the consumer taste of their era.

Lens & Pen Press is having a half-price sale for all titles. James Fork of the White is now available on our website at www.dammingtheosage.com for $17.50 (half the original price of $35), postage paid. James Fork of the White: Transformation of an Ozark River, 352 pages with more than 400 color illustrations, examines the entire watershed of the famed Ozark float stream, a tributary of the White River.

Dec 072022
 

A Jim Owen mailing piece by Steve Miller – the go-to commercial artist in the Branson area as its reputation as a tourist destination grew in the post-World War II era prosperity. His deft drawings imparted a lively pop look.

A small mailing piece drawn by Steve Miller for “White River” Jim M. Owen proclaimed, “THE BIG BASS ARE ON THE MOVE and the months of October and November are the two greatest months of the year to take an Ozark Float trip.”

Branson artist Miller’s cartoons of the native fish are silly. Oddly he proclaims, “Spike Channel, alias ‘The Cat’” is a “plug-snatcher.” Rarely are catfish taken on artificial lures, but then cartoonists have a license to distort. Still, it’s a catchy 1950s style graphic and on the flip-side is a bit of descriptive prose, reminiscent of the Arcadianism of the early railroad advertising, but toned down: “Smooth water, fast water, wide stream, narrow stream, rapids, racy riffles, tumultuous torrent, foam-flecked glides, deep holes that fair breathe of big bass . . . all this and more you will find . . . “

Both Owen and later John Morris promotions mixed contemporary media looks with splashes of the Ozarks’ earlier romantic imagery. Overall, Owen’s services were attuned to real sporting needs and featured documentary photographs – Spike the Plug-Snatching Channel Cat excepted. It’s a neat trick to continually update advertising to accommodate evolving public taste without destroying the region’s long-time, old-time image.

 

Lens & Pen Press is having a half-price sale for all titles. James Fork of the White is now available on our website at www.dammingtheosage.com for $17.50 (half the original price of $35), postage paid. James Fork of the White: Transformation of an Ozark River, 352 pages with more than 400 color illustrations, examines the entire watershed of the famed Ozark float stream, a tributary of the White River.

Nov 092022
 

Press photo, May 9, 1938, showing Congressman Short, Rep. Dudley White and their wives at a DC barn dance.

Dewey Short was “an avowed Hill-Billy.” Neither he nor renowned folklorist Vance Randolph ever disavowed the term. Unlike the transplanted Kansas folklorist, the educated congressman was an Ozark native. Like politicians from Andrew Jackson on, he exploited his backwoods credentials. The cutline of this press photo, “Chicken and Fixin’s YUM YUM,” notes they were dressed in “approved rustic styles” at a D.C. barn dance. Galena’s famous son alternately postured as an Oxford schooled philosophy professor and a Stone County hillbilly. And he was both.

Born in Galena to a family of 10 children, he served in the infantry in World War I, then graduating from Baker University in 1919 and from Boston University in 1922. Short also attended Harvard University, Heidelberg University, the University of Berlin, and Oxford University. Dewey rose to national prominence as the Representative of Missouri’s 7th congressional district.

In 1942, the St.  Louis Star and Times sent a reporter down to Galena to find out, “Just who is Dewey Short, this 44-year-old, one-man hillbilly band from the Ozarks, who has been elected for four straight terms in Congress from the Seventh District in Southwest Missouri?”  Encountering Jackson Short, Dewey’s father, the reporter “came to the right place.”  Writer Ralph S. O’Leary noted that “the oratorical gifts” for which Dewey Short was noted came from his father, “who talks fluently and decisively.” Dewey’s own speechmaking talents earned him the moniker, “Orator of the Ozarks.”

 

From James Fork of the White: Transformation of an Ozark River, 352 pages with more than 400 color illustrations. Lens & Pen Press is having a half-price sale for all titles. James Fork is now available on our website at www.dammingtheosage.com for $17.50 (half the original price of $35), postage paid.

 

Oct 052022
 

Jim Owen leans jauntily on the truck (front row, right), with artist Steve Miller and Owen’s float-fishing guides in front of his Hillbilly Theater, 1940.

At the height of the float trip era, Jim Owen and his team gathered for a photo on Owen Company truck, in front of the Owen Hillbilly Theater, Branson venue for early moving pictures. Table Rock Dam would ultimately kill the famed Galena to Branson float, but floating is still alive and well on interior Ozark rivers when this photo was taken.

James Mason Owen was many things – twelve-time mayor of Branson, bank president, car dealer, restaurateur, movie theater owner, dairyman, fishing columnist, breeder of fox hounds, manufacturer of dog food, and publicity genius. Never was he accused of being an Arcadian. Cigar-chomping capitalist and master of mass media that he was, Owen had the good sense to recruit old time river men like Charley Barnes when he launched the Owen Boat Line.

Owen’s roster included many who had pioneered floating the James and White back in the days when city folks detrained at Galena. A jokester himself, Owen encouraged colorful rustic behavior that fulfilled visitors’ expectations of being escorted downstream by a tractable variety of hillbilly.

Today, canoes and kayaks have replaced wooden john boats and lighter, more functional gear has made camp set up easier. These quick and easy floats, unlike the leisurely floats on the White River or on the James from Galena to Branson, don’t require guide services or provide colorful local characters to entertain the visitors. Newer generations don’t know what they’re missing.

In his memoir, Ted Sare, a guide for the Owen Boat Line in the 1940s, praised the colorful entrepreneur:

“There was no better promoter of that than Jim Owen. He was an ex-newspaperman and knew the value of advertising and also knew how to reach the famous and important people, and he did. He had some of the biggest names in the country and a lot of Hollywood movie stars as his clientele. Jim did more than any other one man to put White River and Branson, Missouri on the map.”

Today, the Historic Owen Theatre is the official home of the Branson Regional Arts Council presenting amateur and professional level Broadway musicals and plays year-round.

Photo from James Fork of the White: Transformation of an Ozark River, 352 pages with more than 400 color illustrations. Lens & Pen Press is having a half-price sale for all titles. James Fork is now available on our website at www.dammingtheosage.com for $17.50 (half the original price of $35), postage paid.

 

Jul 202022
 

Real photo postcard by George Hall

Unlike the posed hillbilly family real photo postcard we shared in June this is a straightforward document of the surviving folk culture on the upper White River, circa 1910.  Hillbilliness is based on these anachronisms.

Locals at this hoe-down appear to be wearing store bought clothes. Once the railroad made its way to southwest Missouri, Stone Countians had access to prêt-à-porter clothing just like the tourists.

Music and the moves it inspires have always been part of life in the Ozarks. Some of the Arcadian resorts built dance floors and natives joined in with visitors. Distinctions between locals and visitors were not always clear when melodies filled the air and boots and shoes started tapping. That tradition continues today in music festivals in the hills as well as regular weekly gatherings like Friday night parties at the old McClurg general store. The decades old weekly gathering was recently well represented at the Smithsonian Folklife Fest, on the Mall in Washington.

Lens & Pen Press is having a half-price sale for all titles. James Fork is now available on our website at www.dammingtheosage.com for $17.50 (half the original price of $35), postage paid.