I picked up the TIME magazine pictured above at an airport kiosk some time ago. While traveling that day, I lingered over this inspiring—and disturbing—story about Kym Worthy. It is true that some leaders find their calling early and some crusaders know their mission almost from birth. Others come to leadership by accident or they pick up the mantle of responsibility simply because no one else will. Perhaps Kym Worthy falls more into the latter group, but she is no less driven because of it. In fact, she is an example of how one person can have a massive impact on the life of another person, a community, and a national conversation.
In 2009, Detroit Assistant Prosecutor Robert Spada discovered over 11,000 unprocessed rape kits in an abandoned Detroit police warehouse. As Michigan’s Wayne County prosecutor, Kym Worthy couldn’t help but be shocked by this discovery. As she told Katie Couric, “These [rape kits] were women’s lives. They go through this examination thinking that this evidence was going to help find their perpetrator. And it’s sitting on a shelf, gathering dust. And this was their life—and nobody cared.”
Since that discovery, Worthy—herself a survivor of rape—has made national headlines for her work, bringing attention to the nationwide backlog of untested rape kits. She has worked at the local and national level to fight for funding to have the kits tested, eventually receiving a $1 million federal grant to begin testing Detroit’s massive backlog. Worthy said that she and her team had to literally dust off the kits, physically open and inventory each one to collect victim information. The statute of limitations on many of the cases had long since passed. Still, Worthy’s team manually cross-referenced the kits with police reports and incomplete investigations. DNA evidence is only one component of any case—and each of these cases had to be re-established and reinvestigated (or, sadly, investigated for the first time).
Him and Her
Phillip March Jones says, “Seeing is everything. But it takes practice.” Expanding our collaboration with Phillip, we asked him to take a look around our studio as part of a new and ongoing travel series—and an extension of his daily photo blog Pictures Take You Places.
“During my last trip to Florence, Natalie asked me to take some pictures of the re-imagined Factory with its new shop, café, and production facility. I spent an afternoon wandering around the building, amazed at what they had accomplished but also bewildered by this seemingly impossible marriage between a literal factory and the sophisticated, comfortable aesthetic that is Alabama Chanin. Chandeliers hang below fluorescent tubes, soft pieces of dyed cloth are hung to dry against corrugated metal walls, and plant shadows grow over the cracks in the asphalt. I love the idea of this great big metal building in Alabama, all dressed up and ready to go.”
Perhaps the most common advice given to any writer: write what you know. Fabric designer, crafter, illustrator, writer, friend, and heroine Heather Ross manages to do just that in her newest publication, How to Catch a Frog: And Other Stories of Family, Love, Dysfunction, Survival, and DIY. In the book, Heather shares wisdom, heartfelt stories, lessons from her eccentric childhood spent in rural Vermont, gorgeous humor, and her deep joy for life.
Published by Stuart Tabori Chang, one of the descriptions of the book reads:
“When, as a twenty-something, Heather complained to her mother about a long list of things she had missed out on and that had compromised her chance of ever leading a ’normal’ life (immunizations, a healthy respect for authority), her mother waved a hand and replied, ’Well, you should thank me, because you have a lot of good stories instead.’”
The stories that Heather weaves, particularly the tales of a childhood surrounded by nature, remind me in-parts of my own daughter, Maggie, who spent much of her summer this year in Seale, Alabama, with her dad, Butch…swimming in a cattle watering trough, exploring the woods, riding ponies, creating art, catching frogs, lizards, turtles, and snakes, and—much to my dismay—having a pretty close encounter with a crocodile.
Heather’s anecdotes of her youthful adventures elicit emotional responses without relying on conventions or tropes. I laughed, I cried, and I found true appreciation for her life lessons.
I was (luckily) invited to read an early copy of the book and contributed this review on the book’s back cover:
I’ve long counted myself among Heather’s admirers; I am now a full-fledged devotee, grateful to her for inviting us all into her world.
How to Catch a Frog: And Other Stories of Family, Love, Dysfunction, Survival, and DIY by Heather Ross is a Melanie Falick Book published by Stewart, Tabori & Chang, an imprint of Abrams (our own publisher).
Nashville-based duo Great Peacock, formed by Alabama native Blount Floyd and Mississippi-born Andrew Nelson, combine rock and roll guitars with country influences and a heavy dose of harmony. The result is what Nelson calls “pop, with folk tendencies.” In the past year, they have tackled a heavy touring schedule, making appearances on Paste’s South by Southwest stage, PBS’ Bluegrass Underground, and Music City Roots. Blount put together this playlist, inspired by the hours spent in their touring van and it includes some of their most listened-to songs. He laughed, “These are some of the songs we jam out to while chasing the rock-and-roll dragon.”
Name(s): Blount Floyd and Andrew Nelson
Band: Great Peacock
Instrument(s) you play: BF – vocals, acoustic git-fiddle, keyboard, drums and percussion; AN – vocals and guitar
Place of Birth/Hometowns: BF – Dothan, Alabama; AN – Floewood, Mississippi
Presently residing: Nashville, Tennessee
AC: When did you start playing music?
AN: I started playing when I was about 15.
BF: I started playing fiddle around age 10 and my parents have some horrible home videos of me wearing a Garth Brooks-style western shirt, squeaking away something awful. I started playing guitar around the 8th grade.
AC: What are some of your proudest moments as a musician (or in your life)?
BF: Playing Bluegrass Underground was a pretty surreal experience.
AN: Every time I write a new song that won’t get out of my head. There’s the same excitement and pride that follows every time. It’s the ultimate drug.
Experience and customer relationships tell us that consumers are increasingly seeking out well-made, crafted products. They also want to know more about where these products are made – and by whom. In the past decade, we have seen and experienced an increase in importance of the “shop local” and “buy American” movements.
In response to this growing interest in craft and provenance, Martha Stewart Living established the Martha Stewart American Made Awards. Every year, Martha Stewart Living selects makers, craftspeople, small businesses, and innovators that fall into four categories: crafts, design, food, and style. These chosen makers represent the best of America’s skilled crafters and artisans, our authentic, creative entrepreneurial spirit, and community-based business models. Ultimately, out of hundreds of nominees, 10 are named American Made Award Winners.
According to Martha Stewart Living, the awards “are spotlighting the next generation of great American makers: entrepreneurs, artisans, and small-business owners who are creating beautiful, inspiring, useful products; pioneering new industries; improving local communities; and changing the way we eat, shop, work, and live.”
We’ve written about Maxine Payne’s book, Making Pictures: Three For a Dime, which highlights the work of a family of itinerant photographers – the Massengills. We were inspired by this catalog of the family’s work and incorporated those thoughts and feelings into our most recent collection. Alabama Chanin, in collaboration with Maxine Payne and contributor Phillip March Jones, has invited a number of different artists, writers, musicians, chefs, and creative types to offer up their own interpretations of the Massengill photographs in a series of posts for the Journal. The posts give voice to the images of the often-anonymous figures that appear in the photographs. For this particular entry, we invited Butch Anthony to “intertwangle” a series of Massengill photographs.
At Alabama Chanin, we’ve spent years working with textiles to find the perfect medium for our techniques and products: 100% organic cotton jersey. We are drawn to artists who utilize what some might call ordinary materials and tools to create extraordinary work. Dana Barnes has done just that; she has taken familiar techniques like crochet and felting and combined them with a common material, merino wool. But, her results are not ordinary. Rather, they are unexpected and exquisite.
Dana Barnes is a renowned fashion designer, having created collections for lines like Elie Tahari, Adrienne Vittadini, and Tommy Hilfiger. Her exploration into wool and textiles sprang from a practical issue – one that many mothers face: as her young daughters ran and played, they made a little too much noise for the neighbors living beneath the family’s expansive loft. At the time, Dana was experimenting with wool and felting and wondered if she could make a rug that was big enough to cover the family’s living space. What resulted was a massive rug sewn together by hand from large crocheted squares of felted, unspun wool.
In December of 2012, songwriter and musician Beck released an “album” called Song Reader that challenged modern recording industry standards and the traditional definition of what an album should be. With Song Reader Beck took a unique approach by releasing 20 songs in sheet music format and asking artists to interpret and record them as they saw fit.
The concept is – at its core – a DIY approach to songwriting and an invitation to other artists to participate in a collective music-making experience. We view the approach as very much aligned with our embrace of open sourcing. All art is interpreted through the lens of the viewer or listener; this takes things a step further by inviting the audience to actively interpret the art.
Beck seemed excited about the possibilities and told McSweeney’s, “I thought a lot about making these songs playable and approachable, but still musically interesting. I think some of the best covers will reimagine the chord structure, take liberties with the melodies, the phrasing, even the lyrics themselves. There are no rules in interpretation.”