From far away, Ghanaian artist El Anatsui’s large-scale artworks take on the appearance of textiles and tapestries with patterns resembling those a master weaver might create. But upon closer inspection, the poignant pieces are actually constructed with simple bottle tops connected by copper wire. Flattened then stitched, their unique assembly allows the works to move, flow, and take almost any shape. They speak volumes about El Anatsui’s education and home.
There are a growing number of programs tailored to adults in the workforce who want to advance their careers or earn a degree. These days, it’s not unheard of for someone to earn their bachelor’s or master’s degree online. There are also entirely new platforms emerging, called MOOCs, or massive open online courses. The expectation is that these new platforms for learning are going to change online learning, opening up opportunities to those who thought they’d never have the chance to further their education. While many of these courses offer no credits, the demand for them isn’t waning. People are looking for outlets to learn – simply for the sake of personal growth.
The trend is expanding into fields outside of higher education. Google search or visit YouTube and you will find an incredible number of courses in all imaginable subjects. Some courses are free; others require a fee or subscription. Still, the possibility of learning something – a skill, a subject, a language – all in your living room has a certain appeal to those of us who can’t imagine the thought of sitting in a classroom again. These classes can be taken on your time, fit between loads of laundry or after the kids have gone to bed. This time, it’s perfectly acceptable to go to class in your pajamas.
As a small business with an artisan-based production system, we are aware that Alabama Chanin is unique in the way that we create our products. We would not exist without the skill and hard work of our artisans. Our cottage industry-style method of production is a subject of interest at many trunk shows, workshops, and forums. We are proud of what we have accomplished as a company and proud that we have been able to keep our manufacturing local. We are also excited to see a trend emerging among other small companies: DIY Manufacturing.
We recently learned about the work of Amor Muñoz in a New York Times article. Muñoz creates a specialized form of electronic textile and seeks her workforce by pedaling down the streets of Mexico City shouting through a megaphone. She has created a “maquiladora,” or factory that pays workers roughly the same as American minimum wage – well over the average rate of pay in Mexico. “It’s about community,” Ms. Muñoz said. “I’m interested in sharing the experience of art.” She wants to create art, but she wants to improve the rate of compensation for workers. This strategy runs counteractive to government agents’ strategy of keeping wages low to make Mexico competitive with China when manufacturing contracts are being signed.
Once there was nothing but paper and pen. Not so long ago (a little over a decade), before the email, the text, the tweet, or the Facebook post, there was simply paper and pen.
Think about how special it feels when you get an actual hand-written note in the mail. When you were a child and wrote that super-secret note to your pen pal, covering the envelope in stickers – think of the pure excitement when a response finally arrived. When I was young and corresponded with friends, summer camp bunk-mates, or cousins, I remember watching as they grew and their handwriting changed: a visual representation that we were getting older. As we moved through junior high and high school, the passing of the note in class became high art. As we got older, silly little love notes were left under car windshield wipers, tucked into coat pockets, left on pillows. Some were sappy, some embarrassing, some beautiful – all with one intent: to express affection.
But, at some point we stopped.
I’ve written a couple of times about what happens when your heroes and heroines become friends. For me, it brings about a feeling of connection to the ever-expanding universe; all things are possible. A girl from the countryside in Alabama can dine with royalty (in all its meanings). The picture above is proof. When I look at this picture, I laughingly think of The Death of Roy Batty in Blade Runner: “I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time, like tears in rain….” However, those moments will not be lost. Knowing and dining with Les Blank gives me a connection to the stories and tiny details of human nature that make me a bigger, and better, person. His contribution to the genre of documentary film is exceptional; his contribution to my life is priceless. His clear vision of humanity (like that of The Kitchen Sisters) helped mold the designer, story lover, and human being I am today. I am so sad to write that my friend, and hero, is very ill with a protracted cancer. The City of Berkeley, California declared January 22nd the official Les Blank Day and wrote this: “With a soft spoken demeanor, an eye for beauty, an insightful mind and great enthusiasm, Les Blank has captured the essence of aspects of American culture,” and “through his respectful, quiet presence, and non-didactic style created films that allow his subjects to reveal their true selves in a unique way.” Well deserved. The world is a better place because of Les Blank, visionary wayfarer. P.S.: Photo above with Les and Alice Waters from April 2008 at The Edible Schoolyard (where Les first filmed and then cleaned everyone’s plate).
These days, you don’t think twice about hearing a woman’s voice on the radio. There are surely female deejays or journalists on your local station. NPR broadcasts the voices and stories of women like The Kitchen Sisters or Terry Gross among others. Alabama Chanin favorite, Elizabeth Cook has her own show, “Apron Strings,” on Sirius XM’s Outlaw Country. But, once upon a time, it wasn’t so common to hear a female voice over the airwaves. For those in the Shoals area, Becky Burns Phillips was one of those first voices to be broadcast.
In 1942, Rebecca “Becky” Burns Phillips met her future husband, Sam Phillips, while they were both working at WLAY radio station in Sheffield, Alabama. They were both in high school. She, 17, had a radio segment with her sister where they played music and sang; he was a 19-year old radio announcer who was on his way to making rock and roll history. The Kitchen Sisters, in an article honoring Becky, quoted Sam as saying, “I fell in love with Becky’s voice even before I met her.” Becky described her first encounter with Sam to journalist Peter Guralnick: “He had just come in out of the rain. His hair was windblown and full of raindrops. He wore sandals and a smile unlike any I had ever seen. He sat down on the piano bench and began to talk to me. I told my family that night that I had met the man I wanted to marry.”
The two were married in 1943. Sam worked feverishly to establish Memphis Recording Service and, later, Sun Records. It is said that, during that time, he suffered two nervous breakdowns – which Becky gracefully helped him through. Becky and Sam had two sons, Jerry and Knox, but motherhood never took away her desire to work in radio.
Sam proudly spoke about how Becky’s talent inspired him to co-found WHER: 1000 Beautiful Watts, referred to as “The First All-Girl Radio Show in the Nation.” He would say that he wanted women, wanted his wife to have a chance that no one had ever given them before – and he co-founded WHER with the money he made from selling Elvis Presley’s contract. He would say, “Becky was the best I ever heard.”
Her son Knox remembered that, at the time of WHER’s conception, women weren’t even allowed to attend the Columbia School of Broadcasting. “But, because of my mother,” he said, “when Sam started the station (WHER) he made it all female: all female air talent, all female executives and sales staff,” he told The Commercial Appeal.
At WHER, Becky was able to shine – writing scripts, organizing segments, managing the station, and presenting in her own beautiful way. She was in charge of approving each record that was played. Though her husband was a rock and roll legend, there were no rocking records at WHER. And there were NEVER to be any curse words allowed over the airwaves. Over the years, she hosted a number of radio shows and carefully curated every day’s segments. Becky told the Kitchen Sisters, “I played music to work by – all the beautiful music like Jackie Gleason and Doris Day, and I gave household hints.”
Phillips broadcast on the radio for over 40 years, until the mid-1980’s, always with her distinctive sign-off: “A smile on your face puts a smile in your voice.”
Mrs. Phillips died in September of 2012 at the age of 87.
Becky Burns Phillips carefully preserved WHER’s record library for well over 40 years. Many of those recordings can be heard on the Peabody Award winning segment by the Kitchen Sisters, “Lost and Found Sound: 1000 Beautiful Watts.”
Listen to Becky Phillips talk about her husband, Sam, and WHER Radio for the TV Segment, “The Lives They Lived” here:
There were few like her, a true pioneer in her field. Her fearlessness and her devotion to her family and her profession are inspirational. We are proud to be part of a community that fostered a woman like Becky Phillips, a pioneer in spirit and part of the heart and soul of Alabama Chanin.
P.S.: I never met Becky Phillips. After moving back home in 2000, I was “busy.” Building a business and sorting through my own life, closed me off to some of the great treasures (and families) of my own community. My loss. Resolution: take time to work less and belong more. xoNatalie
*Photo above found on The Commercial Appeal, Memphis, Tennessee
This post – part of our new “Real Women” series for 2013 – is dedicated to two of the most “real” women I know: Davia Nelson and Nikki Silva of The Kitchen Sisters. Without their dedication to telling the “real” story, I would not be the designer, or the person, I am today. Lost and Found Sound changed my perception of storytelling in the Autumn of 1994. I remember the first moment I heard their tracks: in the third story of a rented house on a green square in Savannah, Georgia. Boom. Life changed.
Ira Glass said of their work, “The Kitchen Sisters have done some of the best radio stories ever broadcast. I know people who got into radio because they heard Nikki and Davia’s work, and had no idea anybody could do anything like that on the air.”
These women are my heroes. (Along with a slew of others you will meet this year.) They continue their storytelling on real women with their series: The Hidden World of Girls, and a new series entitled: The Making of…
Through a Peabody Award winning Lost and Found Sound broadcast, The Kitchen Sisters spurred my interest in this relatively unknown, yet groundbreaking group of women.
“1000 Beautiful Watts.” This was the slogan for WHER Radio – 1430 on your AM dial in Memphis, Tennessee. In October 1955, Shoals native and founder of Sun Records, Sam Phillips and his wife, Becky, took an original concept and made it reality: an all-female radio station. Though the station wasn’t technically the first female station to exist, it proudly referred to itself as the “First All-Girl Radio Station in the World.” As such, WHER broadcast for 17 years in the Memphis, Tennessee market.
In 2008, to commemorate the 50 year anniversary of the peace symbol, National Geographic published Peace: the Biography of a Symbol, by Ken Kolsbun with Michael S. Sweeney.
The book documents the symbol, from its creation in 1958, through its usage in the folk scene of the 1960s, its very visible presence in the 1970s at Woodstock, Vietnam war protests, and in the artwork of Peter Max, until today, with its wide use in commerce and as a cultural icon.
National Geographic has a moving photo gallery of the peace symbol that you can view here, starting with the gorgeous photo of Arlo Guthrie below by Bettman/CORBIS.
“Craft” might seem like it’s for the amateurs, and “fashion” for the auteurs. Yet we live in an age where creativity and innovation are increasingly found in collaborations between makers and users, crafters and designers, designers and manufacturers, and in the loosening of the boundaries between them. Open sourcing and the emergence of DIY everything (from apps to dresses to education) are THE design stories of the 21st century.
If the philosophers and economists are right, such stories reflect renewed possibilities for building communities, for growing businesses, and for practicing everyday forms of enchantment, ethics, and sustainability. It is time to expand our way of thinking about the relationship between craft and fashion, between the self-made and the ready-to-wear, between fashion as intellectual property and fashion as an open source. What can we learn from the fields of music, product design, and education? Does a backward glance help us see how fashion was at the forefront of these innovations from the start? What is a Vogue pattern if not an open source? What are les petits mains other than artists?
SHIFTING THOUGHTS ON DESIGN, FASHION, COMMUNITY, CRAFT & DIY
Over the four days of New York Design Week (May 19-22, 2012), Alabama Chanin–in collaboration with its fashion and design partners–is organizing a series of talks, workshops, and gatherings with leaders in the fashion, design, and craft/DIY communities. The events bring together a dynamic combination of industry leaders to explore the ways in which the fashion, art, and design worlds are inextricably linked to the world of craft/DIY and how each of these worlds elevates the others. We look to create an intersection–a meeting point–to explore, discuss, and celebrate the role of local production, handmade, and craft/DIY in fashion and design as a way to empower individuals, businesses, and communities.