Small Towns

“MIX AND MINGLE” AT ASH GROVE’S MAIN STREET HERITAGE FESTIVAL

Although I arrived at the Ash Grove festival late in the afternoon there were still a few folks milling around on Main Street. There were, like many country trade centers, empty buildings, but none looked like they were about to fall in. Some had going businesses. Others displayed relics of the town’s past in their windows. Overall, the scene did not fulfill the stereotype of villages on the verge of economic and cultural collapse. Writers like Edgar Lee Masters and Sinclair Lewis may have erred when, a century ago, they located all that is dysfunctional and antiquated about America exclusively in small towns. Could it be that cultural stagnation and backwardness may manifest itself in urban and suburban environments as well? A place like Ash Grove that takes civic pride in former residents Nathan Boone (Daniel’s son) and notorious gangster Ma Barker displays up-to-date diversity. It mixes historical eras with wild abandon. The place fits our HYPERCOMMON slogan – ordinary isn’t.

Although I arrived at the Ash Grove festival late in the afternoon there were still a few folks milling around on Main Street. There were, like many country trade centers, empty buildings, but none looked like they were about to fall in. Some had going businesses. Others displayed relics of the town’s past in their windows. Overall, the scene did not fulfill the stereotype of villages on the verge of economic and cultural collapse. Writers like Edgar Lee Masters and Sinclair Lewis may have erred when, a century ago, they located all that is dysfunctional and antiquated about America exclusively in small towns. Could it be that cultural stagnation and backwardness may manifest itself in urban and suburban environments as well? A place like Ash Grove that takes civic pride in former residents Nathan Boone (Daniel’s son) and notorious gangster Ma Barker displays up-to-date diversity. It mixes historical eras with wild abandon. The place fits our HYPERCOMMON slogan – ordinary isn’t.

“Is this Ash Grove?” asked the woman in a red dress behind the wheel of a small car that pulled off on the shoulder beside me. “This is Halltown,” I told her. She didn’t understand my directions until a young girl produced a Missouri road map from the glove compartment and I showed her the way to Ash Grove. “I’m performing at some kind of festival there. Come see me.” She did a U turn and headed back east following my directions.

bl454When I finished taking pictures of Halltown I went on to Paris Spring Junction. (Click on the links to see those posts). Later that afternoon I did end up in Ash Grove, and I did see a picture of the lost woman in red propped up by the door of a café. There was no Sing-a-Long Sweet Memories of Silent Movie Music coming from inside, so I did not hear Teresa Arth sing and play the piano. There was a strolling harmonica player, though.

The light was perfect, but it would not last. Things were definitely winding down at the Ash Grove Main Street Heritage Festival. Attendance was sparse, but the old buildings looked good through my viewfinder. The century old structures were an intriguing combination of decay, restoration, and unfinished restoration, many enhanced with stylistic choices not yet categorized by architectural historians. Such esthetic chaos may disturb purists, but American development has been wildly eclectic from the beginning. Bricolage, an arty French word, describes the practice of incorporating readily available materials or styles into an object or work. Unfamiliarity with the theory hasn’t stopped the citizens of this small town from bricolaging the hell out of their buildings, the collections of artifacts in those buildings, and culture.

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Esthetically as well as socially, Ash Grove’s festival was indeed “mix and mingle” as 105.9 KGBX’s press release said of the event. I pulled it up on the web after getting home:

Back Roads to Main Street Heritage Festival
October 18  – 9:00 am to 5:00 pm.
Main Street – Ash Grove

CELEBRATING AND SHARING A FASCINATING HERITAGE

Notable Missourian Nathan Boone, son of Daniel Boone, early settler – here…. Birthplace of notorious 1930’s gangster Ma Barker, on FBI’s Most Wanted List – here……Civil War bushwhackers’ terrorizing raids – here……Main Street shoot out between horse thieves – here.…..Murder over missing foxhound said to be basis of book and movie, “The Voice of Bugle Ann” – here.……Enterprises that distinguished our area nationwide, Ash Grove Portland Cement and Phenix Marble Quarry – here.

Celebration of this fascinating heritage begins on Historic Main Street. It is a mix and mingle of Civil War to 20’s and 30’s eras in fashion, buggies and vintage vehicles, live music – fiddle — ragtime piano -Irish folk songs, plus foods from the days of biscuits always on the table, sarsaparilla a favored drink, and nothing was better than catfish fried up in a pan.

Come in historic full attire…enter the 10:00 am costume contest (for all ages and gender)… and a free order of biscuits and gravy is yours. Costume up your whole family and not only is your breakfast covered but so are the Halloween costumes.

No costume? Get in the spirit of the day with a flapper headband or gangster hat from the Headband and Hat shop. Don’t forget your camera to get a photo of your new look with flapper, Sara Vega, professional model.

Listen to the story telling and watch the re-enactments of stories from our heritage….join in the games and competitions….see artisans demonstrate their skills…make and take a painted gourd… make a planter from Ash Grove cement and paper… AND keep an eye out for Ma Barker’s boys – they’re usually up to no good.

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As well as the display of a log cabin quilt that was being raffled off for a good cause, there was a photo exhibit on Main Street. Clothes pinned to clothes lines were photographs taken by the citizenry. Voting was underway to select the best images for a community calendar. Sunsets were the most popular subject.

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Even if I had missed the opening act, the coda of the celebration was a provocative visual display of old, new, in between and outside the boundaries of time. It certainly wasn’t one of the laid-out-on-a-slab villages I’d photographed for Ozark Prairie Border. Ash Grove has a pulse.

Googling Ash Grove, I pulled up a dissenting opinion. “Agricultural commerce has abandoned Ash Grove. It isn’t a sleepy community. It’s in a coma,” wrote freelance reviewer of live music, Bill Glahn. He pronounced the town of 1,500 a victim of corporate greed that has killed the family farm and sent factory jobs overseas. Glahn is active in Occupy Springfield, a franchise of Occupy Wall Street, so it’s not difficult to discern his political leanings.

He motored up to Ash Grove from Springfield on Labor Day of 2010, “to make some kind of photographic record that this place actually existed before it crumbled into dust.” The anti capitalist protest group didn’t begin until September 2011. So he wouldn’t have been able to start a subchapter – Occupy Ash Grove – to protest the pernicious influence of big business on small towns. After my brief sojourn I don’t get the feeling the place was or is ripe for revolution.

Mural proclaiming Ash Grove’s debt to the coming of the railroad. Although the homestead of Daniel Boone’s son Nathan has become a popular state park just north of the town it was the arrival of the Missouri Pacific railroad in the late 1800s that spurred an era of prosperity, and is embedded in local memory. As well as a decent farming resource (which blogger Glahn prematurely dismissed) a nearby vein of excellent limestone was mined for building stone and crushed as aggregate. During the Depression construction virtually ceased in America and farm commodities suffered a price collapse. Ash Grove has more than survived. Though the train no longer stops and the quarry has closed, it has highway access to Springfield, a small city with a surfeit of shopping and gobs of jobs.

Mural proclaiming Ash Grove’s debt to the coming of the railroad. Although the homestead of Daniel Boone’s son Nathan has become a popular state park just north of the town it was the arrival of the Missouri Pacific railroad in the late 1800s that spurred an era of prosperity, and is embedded in local memory. As well as a decent farming resource (which blogger Glahn prematurely dismissed) a nearby vein of excellent limestone was mined for building stone and crushed as aggregate. During the Depression construction virtually ceased in America and farm commodities suffered a price collapse. Ash Grove has more than survived. Though the train no longer stops and the quarry has closed, it has highway access to Springfield, a small city with a surfeit of shopping and gobs of jobs.

THE OLD MILL IS GONE, BUT HURLEY YET DISPLAYS RELICS OF OBSOLESCENCE

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Had the son of the owner of the water mill at Hurley Missouri been more careful with his brush fire I could have photographed an earlier and more conventionally nostalgic relic of technology. The rambling three-story, crudely built, added-on, and deteriorating structure built in 1892 burned to ashes on April 3, 2005. Don Christenson had purchased the property in 1997 and embarked on an ambitious restoration when it was ignited by his boy’s careless cleanup effort. A newspaper article at the time said the heartbroken son was going to earn money to rebuild it for his dad. Obviously that didn’t happen. The site today consists of a few fire-scorched and rusty pieces of machinery set among some foundation stones. Invasive weeds and sumac are already being replaced by trees. In another decade, finding any evidence there was ever a historic mill here will require archaeology.

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In the lot next to the overgrown watermill ruins is a neat small stone filling station with an old green car in front and a faded orange visible gas pump. A rusted iron-wheeled saw completes the exhibit of dated objects but not so ancient as the medieval technology of watermills. Other obsolete machines and implements are scattered about the grounds. The walnut buying operation is closed, but has a sign that indicates when it will reopen. A machine that holds the nuts deposits the shells into an old two-ton baby blue Ford truck with a yellow hood and faded red bed. Gathering food from the woods is even more ancient than the utilization of waterpower to grind grain.

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bl501Across the road is a café, and behind it the Spring Creek Farm and Home business, which is in the early stages of ruination. Its milling machinery did not grind wheat for baking bread. It processed trucked-in grain for cattle feed. After the Missouri-Pacific Railroad came through Hurley in 1905, bringing flour that was grown and milled in Kansas with more efficiency than the small Stone County farms and watermill. The old watermill began primarily producing animal food. What outside competition doomed the Spring Creek Farm and Home enterprise, we haven’t learned.

Even if this recently deceased business has plastic, concrete block, and tin building materials instead of the more venerable stone and wood of classic ruins, time is lashing the remains. The untreated wounds of neglect are evident. But there are enough scarred and weathered wood components to wish for an 8 x 10 view camera and slow film.

At the back of the defunct agricultural service a muddy road plunges into a young forest. On the hills are steps, foundations and collapsed frame houses. There was a time in the Twenties and Thirties when the railroad brought some opportunities for these frugal subsistence farmers. Hurley then had twice its current population of 170. A 1927 Stone County booklet pronounced with only a little puffery:

Hurley is said to be the most mutual, cooperative and moral town in Stone County. It is a small town on the Missouri Pacific Railroad, between Crane and Springfield and surrounded with very fertile productive land, and it claims, in proportion to size, the largest trade of any town in the county. A stream of clear spring water runs through the center of the town sufficient to grind out the best flour, meal and feed; and the pretty homes and streets are all clean and the inhabitants healthy. Of course such a town and community has a good school and religious services and the business firms listed below carry a complete stock of merchandise, machinery, lumber, feed, etc., to supply the surrounding country.

A recollection of Hurley 1920-1990 by Ray Gold on www.rootsweb.ancestry.com tells of this hardscrabble but not demoralizing Ozark existence:

No two people will remember the same things just alike, and there is good reasons for that. We were all real close to our families, because of poor roads, poor transportation, very few telephones, no electricity, no TV, no money, and many other reasons. We really didn’t miss any of this stuff, because we didn’t know anything about it. Everyone lived about the same way as their neighbor. We all had out houses and no running water in our homes. If we were lucky we had a cellar full of canned fruit and vegetables, an old cow for our milk, and a smoke-house full of hog meat and lard. That is a few of the reasons we never got very far from home. When we were real young, everything was strange to us if we were ten miles from home. So we just rememberd things that happened in our small world.

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There is a larger than average quantity of such recollections from this part of the Ozarks. Mary Scott Hair, aka “Samanthy,” wrote a paid column beginning in 1948 in the Crane Chronicle that recorded the life and times of Hurleyites. Her father had once owned the Spring Creek Mill, and she and her husband and daughter worked a small farm nearby. In a 1982 interview printed in Bittersweet she summed up her life:

I have lived in Hurley all my life and I probably won’t live anywhere else. I am rooted and grounded in Hurley. My younger days were Hurley’s best days. Sometime I wonder whether or not it was all make believe.

Such rural experiences related by Stone County old timers were not unique to the Ozarks. As Hurley was on the fringe of the Shepherd of the Hills country whose mythos idealized plain folk, these natives may have been incentivized and more confident writing down the minutia of their bucolic existence than small farmers in regions not celebrated in books and promoted by Arcadian tourism.

TRADE CENTERS – PART 2

Civic Theater, Osceola, St. Clair County (click to enlarge)

Civic Theater, Osceola, St. Clair County (click to enlarge)

The Ozark-prairie border economy is dependent on agriculture. As with much of rural America, the decline of family farms has left under-utilized retail spaces. Country stores in hamlets and crossroads have been affected the most. Transactions are still made around courthouse squares. With paint and plastic signs, the nineteenth-century buildings in Osceola are open for business. The art moderne movie house across the square isn’t a victim of hard times on the farm—single screen theatres are obsolete everywhere. Perhaps the grandest structure of the region is the Opry House at Greenfield. Drama, Comedy, and Opera are not only boldly stamped on the ornate cornice, plays are still performed by local thespians on the 128-year old upstairs stage.

Businesses, Greenfield, Dade County (click to enlarge)

Businesses, Greenfield, Dade County (click to enlarge)

Towns strung along the Burlington Northern Railroad—Golden City, Lockwood, and Greenfield—have their fair share of empty commercial buildings but also some glimmer of life. Bustled they haven’t for years, but one can get a tank of gas and a good plate lunch. Some of their architectural heritage has been kept up, like the 1903 Block Building on Lockwood’s Main Street which is now a furniture store.

Before the War Between the States, Osceola thrived as the head of steamboat navigation on the Osage River. In 1861 radical Kansas Senator/Union General James Henry Lane and his Red Leg army looted and torched the county seat of St. Clair County, displacing 2,500 citizens. Railroads reached Osceola in the 1880s and it grew back to half its pre-war size. Today the railroads are gone, Highway 13 bypasses it and Truman Lake proved to be of small economic benefit. Many of the commercial buildings around the courthouse square are vacant, but well maintained, awaiting a return of prosperity from a yet unknown windfall. The 2000 population was 835.

Osceola, St. Clair County (click to enlarge)

Osceola, St. Clair County (click to enlarge)

Brick and mortar, wood and tin casualties of market wars and change are everywhere in America. Wounded buildings conspicuously accumulate in rural settings where there is no urban renewal or subsidized gentrification. No, Crystal, these old walls don’t talk. They do reflect light in such a way that an expressive photograph can be taken. Some of these images are, I believe, worth looking at more than once. Some of these places I’ve returned to two, three, four times hoping for inspiration and a Turner-watercolor sky.

For gallery of Leland Payton’s photographs of trade centers, click on any image.

For more about the Ozark Prairie Border and to buy a print copy, click on the cover.

For more about the Ozark Prairie Border and to buy a print copy, click on the cover.

To buy a PDF of Ozark-Prairie Border click here

TRADE CENTERS – PART 1

1915 bank, Vista, St. Clair County. That there are so many defunct bank buildings in small towns gives one pause. (click to enlarge)

1915 bank, Vista, St. Clair County. That there are so many defunct bank buildings in small towns gives one pause. (click to enlarge)

A going business has a sign that tells you what it is. Unless the architecture is unusual, I’d need to get paid to take a picture. Should the venture close and still have its signage, the words become sufficiently ambiguous to trigger my modernist sensibilities. Such a statement of the transitory character of trade gets my attention. If nature is working to reclaim the site and make it habitable for birds, bats, wasps, mice, spiders and snakes, the wreckage almost certainly would be worth half a dozen exposures. I’m in recovery from Romanticism but obviously I’ve lapsed.

Coming upon a weather-beaten abandoned farmhouse brings up feelings more traditional than modern. Evaluating the pictorial potential of a busted commercial enterprise, I am not pulled into any whirlpools of mythic agrarian memory. The back story of a bypassed gas station or grocery store is melodrama not tragedy. Lost family farms are too often the end of a way of life. Retailers may suffer setbacks but usually live on to sell another day—at a better location.

Jerico Springs, Cedar County (click to enlarge)

Jerico Springs, Cedar County (click to enlarge)

At Jerico Springs the collection of closed businesses has the dramatic look of a film set. The name of the town sounds like a movie title. Its dozen derelict buildings could be the backdrop for an existential drama. My photos might be better in black and white. Pointing my lens west, I frame a park with old trees, greenish grass (even in this drought) and a rock bandstand. The spring water, once believed to have curative benefits, trickles into a basin, staining the concrete burnt sienna. Jerico Springs the unscripted, unmade movie should have, if not a Hollywood ending, a hopeful last act.

I returned and shot an alternate, more upbeat conclusion to the Jericho Springs story. On a crisp September morn, with some tinges of pink in a blue sky, I redid the broken block of buildings and the rock rubble bandstand. As the movie industry knows, aging actors need the most flattering lighting.

Park, Eldorado Springs, Cedar County (click to enlarge)

Park, Eldorado Springs, Cedar County (click to enlarge)

Eldorado Springs, sixteen miles north, has ensconced its mineralized spring outlet in an elaborate stonework setting. Architecture themed on unscientific belief can produce good results. Rivaling for a time Eureka Springs, Arkansas as a health spa, this small town still uses the park as a community gathering place. Located at the edge of the prairie plain, Eldorado lacks the “semi-alpine” setting of the famous Arkansas tourist attraction.

Although the spas ultimately failed, the region continued to court recreationalists. Truman and Stockton lakes have attracted fishermen and boaters, but few family vacationers. Branson is 100 miles south with clearer reservoirs, forested hills, accessibility to population centers and a heritage of aggressive promotion and development. Turkey and deer hunting in the Ozark-prairie border are good. Guys with shotguns and rifles unfortunately don’t leave a lot of money behind.

For gallery of Leland Payton’s photographs of trade centers, click on any image.

For more about the Ozark Prairie Border click here.

For more about the Ozark Prairie Border and to buy a print copy, click on the cover.

To buy a PDF of Ozark-Prairie Border click here

BUFFALOS OF BUFFALO – Part 2

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Minimalist buffalos on a fence, Buffalo, Missouri (click to enlarge)

After discovering a startling, hundred and fifty foot or so long, grazing buffalo painting on the side of a new flea market we returned the next Sunday to pursue photographing these symbols of Buffalo, Missouri. Actually it wasn’t until we had gotten home and looked at Crystal’s digital shots of the eye-catching mural on a computer screen that we decided to return. The hunting was good.

Renditions of bison are scattered all over town. A variety of styles were evident from sketchy, minimalist drawings to every-little-shaggy-hair kind of realism. There were naïve versions; others looked to be borrowed from the clip art now readily available on the Internet. Downtown there was another mural, a more conventional rendition than the flea market art by Susan Owensby. This work on a brick wall was signed Ron and Laura Allison.

In the late 1970s we often drove through Buffalo on our way to some place else. It was still pretty much a farming trade center then. The largest employer was a poultry processing center that has since closed. An improved highway has facilitated commuting to Springfield. New businesses are out on 65 highway, but the old downtown isn’t burdened by buildings about to collapse as is the case in many small towns.

The abundance of buffalo imagery we take to indicate a resurgence of civic pride. Nothing says Buffalo like a buffalo. Perhaps civic boosters have learned from progressive municipalities like Springfield that a “vibrant” art community is good for business. Buffalo had its third annual art fair this year. But there seems to be no top-down imposition of standards on the depictions of bison. Even if it’s an idea introduced from the outside, it is undeniably popular.

Rural Ruins Junkies was the working title for a book project we started a few years ago. Then we were visiting more isolated villages that were fast crumbling into photogenic ruins. This was not a particularly original idea, and it brought back how we had once traveled the rural Midwest picking antiques from such environments. Under Confessions we’ll post a fragment of writing we did that contrasts with our more upbeat coverage of Buffalo.

At any rate that Sunday Buffalo shoot revealed a less melancholy small town than we had imaged when working on Rural Ruins Junkies. Seeing this excess of civic symbolism did not erase our recollection of fading small towns, but it did mitigate the fatalism. Our experience in Buffalo dovetails with some observations made revisiting Branson – i.e. the Hypercommon hypothesis. Nostalgia can be overly pessimistic. The Buffalos of Buffalo, an exercise in iconography that was only incidentally esthetic, exuded a small bit of hopeful energy in their variety and abundance.

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Bar with Anthony Bail Bonds sign, Buffalo, Missouri (click to enlarge)

Such unschooled graphics may not be conventionally acceptable as folk, naïve, or primitive art, but its assertion of naïve confidence in commonality is arresting.

We will, by the way, stop again in Buffalo and document the abundance and variety of the many Bail Bonds businesses.

Click any image to view a gallery of Buffalo photographs by Crystal Payton

BUFFALOS OF BUFFALO – Part 1

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Buffalo Motel, Buffalo Missouri, 2007. (Click to enlarge.)

For decades travelers on U.S. Highway 65 have been reminded they are motoring through Buffalo, Missouri by an eye-catching, neon-outlined Buffalo Motel sign. This county seat of about three thousand got its name – one might guess – from a pioneer encounter with a bison. This is a forested region that once had strips of prairie, buffalo habitat, which were kept free of trees by fires started by the Osage Indians. By the time America acquired these lands the Osages had eliminated such big game in western Missouri and were pursuing these beasts hundreds of miles into western prairies. There might have been a few stragglers, but the big herds had long been gone from this region.

A credible account of the origins of the town’s name is on the website of the City of Buffalo. Mark Reynolds of Tennessee, it states, was the first white settler. “Mr. Reynolds found a stake on one of the Blue Mounds that had been left there earlier by some unknown traveler and he placed the nearby skull of a buffalo on that stake. Hence the name, Buffalo Head Prairie.”

Wikipedia has another explanation. “Buffalo was laid out in 1854 by Joseph F. Miles. It was named after Miles’ birthplace at Buffalo, New York.”

When the Buffalo Inn & Suites was built it too used a more abstracted buffalo on its sign. Obviously the citizens believed the genesis of its name had something to do with the hulking prairie animal.

Crystal Payton photographing the Buffalo Missouri flea market mural. (Click to enlarge.)

Crystal Payton photographing the Buffalo Missouri flea market mural. (Click to enlarge.)

This August, coming back from a trip to document an alleged abandoned cemetery on the shores of Truman Reservoir, we turned into a new flea market parking lot and discovered a small herd of buffalo had rumbled into town. On the side of a long, corrugated metal building, under a purple and magenta radioactive sky, were seven buffalos in various tranquil poses. The tufts of grass sticking through the gravel of the parking lot looked like an overgrazed buffalo prairie. The mural spoke to Crystal. While the senior photographer with the heavy, detachable lens Nikon went inside to futilely look through stalls of crafts and garage sale merchandise she took a series of shots with her little Sony camera. These images would later prove that the one with the most expensive camera doesn’t always grasp the photogenic potential of a given built environment.

Crystal also photographed a billboard that depicted a buffalo for Buffalo Prairie Dentist, “Smiles above the rest. Welcome to Buffalo,” at the entrance to the flea market parking lot. The bold mural was signed “Susan Owensby, June 2014.” The Buffalo dental billboard looked new too.

What’s with all this embrace of buffalos, we wondered. We’ve been driving through Buffalo for more than twenty years and were not aware of the current fad of buffalo branding. The next weekend we drove back and found the town had indeed gone buffalo crazy.

We’ll cover this in Part Two of the Buffalos of Buffalo.

Click on any image below for a gallery of Crystal’s Buffalo mural photographs.