Birdwatch

Birdwatch

Easy Listening

But the whip-poor-will is harder to spot

By Susan Campbell

If you live adjacent to wet woods well away from the city, I am betting that you have been treated to a loud, repetitive call at dusk — probably for some weeks now. The raucous, distinct vocalizations most likely originate from a medium-sized, extremely well camouflaged bird. Not surprisingly, the endless three-syllable chants of “whip poor will” are made by the Eastern whip-poor-will. But make no mistake: This bird is as hard to find as it is easy to hear. Its mottled gray, brown and white plumage makes it virtually invisible either perched on a low branch or, as it does more often, sitting on the forest floor.

Should you scare up one of these birds or catch a glimpse at dawn or dusk, you will see that little about their plumage really stands out. Whip-poor-wills have a distinct white throat patch as well as pale coloring on the corners of the tail but otherwise are quite dull. The outer tail patches on males are white but buff-colored on the females — otherwise they are identical. One other important difference is that only the males do the calling.

In early spring, whip-poor-wills make their way north from winter locations ranging from Central America to perhaps as far north as the Gulf Coast. Their overland route, which they cover at night, brings them up through the Southeastern states quite early in the season but, by the time they arrive, larger insects have already taken flight. This is critical given the fact that they dine solely on bugs. Their huge mouths scoop up a variety of invertebrates, including moths, beetles, grasshoppers, fireflies, and even wasps and bees. They are known to feed all night long if there is a full moon. Whip-poor-wills are versatile hunters, searching for prey items in leaf litter or, at times, rotting wood.

Because they spend most of their time flying in the forest, whip-poor-wills require open terrain like the open pine woodlands of the Sandhills region. Nests are simple scrapes on the ground made by females who typically lay two marbled eggs that are amazingly camouflaged in the leaf littler. Although it is the female who incubates, the male may perform a convincing distraction display at the nest site to lure would-be predators away. It is curious to note that nesting may be delayed so that hatching coincides with the full moon when the parents can spend more of the night hunting insects for their growing family. Young whip-poor-wills will move from the nest after hatching, perhaps to avoid predation.

Unfortunately in the East, many whip-poor-will populations have been in decline due to habitat loss. Woodlands continue to be replaced by both agriculture and, even more so, housing developments. Human activity has significantly reduced potential territories here in central North Carolina. But where they hang on, their summertime chorus rings loud and clear.  PS

Susan Campbell would love to hear from you. Feel free to send questions or wildlife observations to susan@ncaves.com.

PinePitch June 2024

PinePitch June 2024

Dream Sequence

Gary Taylor Dance journeys to an alternate universe of color, dance and infinite possibilities in its three-act production of “Cirque Dreams & Illusions” at BPAC’s Owens Auditorium, 3395 Airport Road, Pinehurst, at 7:30 p.m. on Saturday, June 1, and again at 2 p.m. on Sunday, June 2. Also on June 1 at 2 p.m., “Cirque Dreams Jr.” highlights the PK Dance and Elementary Dance Studio programs. For ticketing and information visit www.ticketmesandhills.com or go to www.taylordance.org.

Rushing Waters by Kathy Petz

Judge and Jury

The Artists League of the Sandhills is holding a reception for its judged exhibit and sale “Art to Appreciate” on Friday, June 7, from 5 p.m. to 7 p.m. at the Artists League of the Sandhills, 129 Exchange St., Aberdeen. The show will hang through June 28. For information go to www.artistleague.org.

U.S. Open Showcase

The village of Pinehurst and the United States Golf Association have teamed to create the U.S. Open Showcase at Tufts Park during the week of the championship. There will be a 9 x 12 foot LED screen, a golf simulator, putting green and live streaming of the tournament for those hoping to enjoy the competition outside the gates. Parking in the business district on the street and in the Village Green parking lot will be available, up to a three-hour limit. After 5 p.m. on Wednesday through Sunday, visitors should park at Cannon Park, where complimentary shuttles will transport guests to and from the Village Green. Parking at Cannon Park prior to 5 p.m. requires a permit. The roads in the village center will remain open during the day, with limited closures on Wednesday and Saturday evenings to accommodate scheduled events. During June 10-16 the possession and consumption of alcoholic beverages will be allowed in the village’s temporary social district. Space is limited for the walking tours and the history presentation at the Tufts Archives. Preregister at www.vopnc.org.

Schedule of Events

Monday, June 10

  • 10 a.m. SLAM Fitness Class

Tuesday, June 11

  • 8 a.m. Yoga in the Park
  • 10 a.m. Historical Walking Tour
  • 1 p.m. Paint by Number in the Park
  • 8 p.m. Movie in the Park: The Greatest Game Ever Played

Wednesday, June 12

  • 8 a.m. Yoga in the Park
  • 10 a.m. SLAM Fitness Class
  • 1 p.m. to 5 p.m. Farmers Market
  • 5 p.m. History of Pinehurst presentation in the Tufts Archives
  • 7 p.m. Military Appreciation Night and Concert with a pipe and drum ensemble, military video tribute, the 82nd Airborne Military Chorus and the Sand Band.

Thursday, June 13

  • 8 a.m. Yoga in the Park
  • 10 a.m. Historical Walking Tour
  • 1 p.m. Paint by Number in the Park
  • 8 p.m. Music with Rock It Productions

Friday, June 14

  • 8 a.m. Yoga in the Park
  • 1 p.m. Live Music
  • 8 p.m. Whiskey Pines Concert

Saturday, June 15

  • 10 a.m. to 1 p.m. Farmers Market
  • 8 p.m. Parks Brothers Band Concert

Sunday, June 16

  • 9 a.m. Golf Conditioning Exercises

USGA/Chris Keane

In Case You Haven’t Heard

The United States Open Championship will be conducted on Pinehurst’s storied No. 2 course the week of June 10-16. The championship rounds will be June 13-16. It’s our national championship, folks. If you need to know anything else visit www.vopnc.org or www.usopen.com.

Jazz It Up

The Sandhills Community College Jazz Band will hold its summer concert featuring the sounds of Henry Mancini and Duke Ellington on Monday, June 17, at 6:30 p.m. at SCC, 3395 Airport Road, Pinehurst. For more information call (910) 315-6900.

Ashley Lovegrove and Barbara Baker’s By Golly

Get a Jump on It

The North Carolina Hunter Jumper Association’s annual show begins on Monday, June 24, and continues through Sunday, June 30, at the Carolina Horse Park, 2814 Montrose Road, Raeford. For information go to www.carolinahorsepark.com.

Founding Father

Enjoy a virtual conversation with Eric Weiner, the author of Ben & Me: In Search of a Founder’s Formula for a Long and Useful Life, at The Country Bookshop, 140 N.W. Broad St., Southern Pines, on Tuesday, June 25 at 1 p.m. For information visit www.ticketmesandhills.com.

Take a Load Off

The village of Pinehurst, the Pinehurst Business Partners and the Pinehurst, Southern Pines, Aberdeen Area Convention and Visitors Bureau have collaborated to create “Rock the Village.” This art installation celebrates the return of the U.S. Open to Pinehurst No. 2 and features 48 sponsored rocking chairs positioned in the village and painted by local artists. Proceeds benefit the First Tee – Sandhills. Rock on. For more information go to www.rockthevillage.com.

Photograph by Starworks

Star Gazing

The Starworks gallery, 100 Russell Drive, Star, opens its Craft Invitational, featuring some of the region’s most talented craft artists encompassing glass, ceramics, metal, wood and fiber, at 9 a.m. on Saturday, June 8. The cost is $5. If you want a sneak peek there is a preview reception on Friday, June 7, from 6 p.m. to 8 p.m. Tickets for the early look are $25. For more information go to www.starworksnc.org.

Down to the Bones

Join Sara E. Johnson to discuss her new novel The Hungry Bones on Wednesday, June 19, at 6 p.m., at The Country Bookshop, 140 N.W. Broad St., Southern Pines. A human skeleton, believed to be the bones of a Chinese gold miner, has been exhumed in a quaint former gold rush town in New Zealand. Johnson’s protagonist, Alexa Glock, is called in to examine the teeth and the secrets they contain. She didn’t expect to discover a hole in the skull. When another skeleton is unearthed nearby and also shows evidence of a violent death, Alexa digs into both cases. The secrets she uncovers make her dangerously unpopular with those who want to keep the past buried. Reserve your spot at ticketmesandhills.com.

Lumbee Film Festival

The sixth annual Lumbee Film Festival begins during Lumbee Homecoming at 12 p.m. Friday, July 5, and continues on Saturday, July 6, at the Thomas School of Business Auditorium, 1 University Drive, Pembroke. The festival showcases original new films made by Native Americans, Indigenous filmmakers and American Indians, especially members of the Lumbee Tribe living in North Carolina and across the United States. For questions email dan@cucalorus.org or kim@kimpevia.org.

Great Balls of Fire

After he played Jerry Lee Lewis in the musical Million Dollar Quartet, the Sandhills Repertory Theatre brings Jason Cohen and his portrayal of The Killer to the Sunrise Theater, 250 N.W. Broad St., Southern Pines for two shows on Saturday, June 1, at 2 p.m. and 7 p.m. “Jerry Lee Lewis & Friends” features the songs of Lewis and his contemporaries Elvis, Johnny Cash and Buddy Holly. Tickets are $36. For further information call (910) 420-2549 or go to www.sunrisetheater.com.

The Livin’ Is Easy

The town of Vass is hosting a summer festival with live music, vendors and plenty of food on Saturday, June 8, on Seaboard Street in Vass. For information call (910) 245-4677 or go to www.townofvassnc.gov.

Behind the Curtain

Behind the Curtain

The making of NBC’s award-winning golf telecasts

By Bill Fields

Feature Photograph: (L-R) Joe Martin, Tommy Roy and Tom Randolph (Photograph by Kent Horner/NBC Sports)

As the people who love me could testify, for better or worse I have watched a lot of golf on television in a lifetime around the sport. This was the case when it was only a couple of hours and a handful of holes on weekends in the 1970s and ’80s, and in the 21st century, when major championships get sunrise-to-sunset treatment with technology that was the stuff of fantasy years ago.

But until the fall of 2017, despite decades in golf media during which I’d written, edited and photographed, I had never worked on a broadcast. Then Gil Capps, longtime NBC Sports’ editorial adviser and 18th tower mainstay, called to see if I wanted to fill in as a researcher/statistician for someone who recently had left the position. I soon had a new gig at a dozen or so events each season — and a perspective on televised golf that wasn’t possible watching from home or a press room where I was chronicling a tournament for one periodical or another.

Hundreds of shows later, I’m in my seventh year as a contributing researcher assisting talent in the main booth, a spoke in the large wheel that is NBC Sports’ golf production team, which will bring the 2024 U.S. Open at Pinehurst to millions of viewers. What was at first an alien new world is now familiar. Strangers have become friends. Sometimes, at least, I even remember to not place my backpack on a damp floor before our attentive stage manager, Kathy Noce, has issued a warning.

I’ve been pumped when an announcer has used a meaningful tidbit or framed a moment with the context I suggested, and bummed on the occasions (fortunately rare) when I passed along something to talent that was incorrect. Television is a tightrope that typing stories, even on a short deadline, isn’t.

“When you’re on live television everything’s immediate,” says Capps, a Hickory native and Davidson College graduate, who worked his first U.S. Open in 1995 at Shinnecock Hills and has been alongside golf host Dan Hicks since 2000. “There are no backspace keys, no eraser. You’re obviously striving to be right all the time, but it’s not just that — it’s being able to show things or tell things that make sense, that do justice to what you’re seeing.”

Many people and much equipment are needed to broadcast golf, more than a casual viewer would imagine. That includes production managers who handle logistics for the traveling circus, to caterers who feed us, and support staff who toil long hours making sure everybody has what they need to do their jobs, whether that’s getting index cards to the tower or putting down plywood to make it possible to traverse a muddy compound.

“The producer is telling the story. The director is painting the pictures,” says Joe Martin, an industry veteran who has directed NBC’s tournament broadcasts since 2021. “But the technical team — technical director Mark Causey, the replay guys, the camera operators, the audio technicians — are really the backbone of getting a golf show on the air. It doesn’t happen without them.”

It is hard to imagine NBC’s golf coverage without lead producer Tommy Roy, who has been at the helm since 1993, and co-producer Tom Randolph, who has been alongside him for the whole ride. Both men got into golf TV years earlier, Roy while he was a student at the University of Arizona, Randolph after playing collegiately at UCLA, where he was a teammate of Corey Pavin. (His cousin, Sam Randolph, won the 1985 U.S. Amateur.)

Left: (L-R) Joe Martin, Tommy Roy and Tom Randolph (Photograph Kent Horner/NBC Sports)

Middle: Brad Faxon, left, and Mike Tirico will be joined in the 18th tower at the U.S. Open by Dan Hicks and Brandel Chamblee (Photographs by Bill Fields)

Right: (L-R) Dan Hicks, Brandel Chamblee, Brad Faxon, Steve Sands on camera, and researcher Harrison Root

 

Roy comes from a golf family as well. His late father, Billy, a native of Manitoba, was a longtime club professional in Tucson, where he moved to be in a warm climate after contracting polio as a young adult. “He was in the hospital for a year and lost the muscles in his legs,” Roy says. “He could play golf but not with power, and he walked stiffly. He became known in the Tucson area for giving lessons to handicapped people and the elderly. I was always very proud that my dad was a golf pro.”

In 1978, when Roy was on holiday break in the middle of his sophomore year at Arizona, his dad helped him get a job at the Tucson Open. He had a choice of working in an on-course bar or as a runner for NBC delivering coffee to cameramen. He chose the latter because a friend had done it the prior year, the perk being the use of a rental car during the tournament.

But a week to earn spending money and drive fresh wheels turned into something of greater consequence when he was asked to help in the control room on Saturday. “When I went into the truck for the very first time, I knew that’s what I wanted to do,” says Roy, who was instantly attracted to the organized chaos. “Most of the time you’re taught to take your time, think about the possibilities, then make your decision. In the truck, you have to make a decision ‘now.’ It kind of goes against what normal jobs are.”

When Roy returned home that evening, he told his mother, Luanne, that his future had a shape, and soon he was on the road during the spring as part of the golf crew, joining NBC full time when he graduated in 1981.

That was the year that Randolph, who grew up in Menlo Park, California, got his start. He was a golf partner and friend of John Brodie, the former San Francisco 49ers quarterback who was an NBC announcer. Brodie thought Randolph’s playing experience could be put to good use on a crew that at the time was somewhat thin in golf knowledge. As had been the case with Roy, Randolph enjoyed the hectic environment of many voices from Day One.

Left: Photograph by Bill Fields

Middle: Photograph by Tomas Ovalle/NBC

Right: Editorial advisor Gil ( Photograph byCapps Katie Capps)

 

“Some people are fascinated by it and love it, and others come in there and have to get out as quick as possible because it’s too much,” Randolph says. “I had a little trouble studying and reading books, but I could watch two games at once, hear a conversation next to me and play cards at the same time. For most people, that would be hard. But I sometimes focus better doing more than one thing at a time.”

Randolph stands behind and between Roy and Martin during shows, his eyes on dozens of monitors. “I’m kind of a traffic controller in the truck,” Randolph says. “I have a lot of spotters and other people helping me. I’m looking at many monitors and figuring out where we go live. If Tommy wants to do a replay, or show some taped shots or other elements, where can we get those in without missing the most critical live shots? It is definitely a team effort.”

Martin will have roughly 65 cameras at his disposal in Pinehurst. Many are operated by experienced and expert hands such as Mike Wimberley, Gunnar Garrity and Rick Rice, who have done golf for years. Martin is communicating with them throughout broadcasts along with volunteer spotters reporting who is hitting what shot where. “I can listen to three conversations at once and know which one I need to actually pay attention to, and why it matters to me,” Martin says.

Drones and an airplane will be in the Sandhills skies during the U.S. Open to capture distinctive views. Remember the dramatic images looking down at Tiger Woods as he exulted his must-make putt on the 72nd green of the 2008 U.S. Open? Those were shot by Bob Mikkelson, who will be flying above No. 2 in June.

Overseeing it all is the intense, Pepsi-fueled Roy, the 29-time Sports Emmy winner who in addition to working about 500 golf events has excelled at coverage of the Olympic Games (producing every medal-winning race of Michael Phelps’ glorious swimming career), the NBA and the NFL. Roy is the definitive and decisive captain of the golf ship.

“These are gigantic sports productions, and you have to have a leader,” says Hicks, who coincidentally also grew up in Tucson and graduated from Arizona, although he didn’t meet Roy until 1992. “Without a leader, you’re lost. Tommy has a huge swath of responsibility, and he’s done the job very well for a long time. He is our leader.”

Complacency doesn’t fly with Roy. “I’m just driven for greatness,” he says. “I’ve seen people who get in positions who no longer strive for greatness. They strive just to be good enough to get by. And I don’t ever want that to happen for me personally or for anybody who works with us. We give our best all the time. We’re relying on so many people to do their jobs perfectly.”

As Mike Tirico, who will share the lead announcing duties with Hicks in Pinehurst, says, “You don’t ever want to let Tommy down. He has a bar for excellence that is higher than most people, and it’s there all the time. I’ve worked with great people, and he’s got a passion, an ability, an energy like nobody else. Nolan Ryan had command, a presence. He threw in the 90s for a long time. Tommy is just as good as he was when I first worked with him 25 years ago. That’s a lot of shots and a lot of miles to keep your fastball at 95, and Tommy’s is 95 with movement.”

Hicks and Tirico still bring it too, many years since their childhood aspirations of becoming broadcasters turned into esteemed careers on the air. Working closely with them affords a better appreciation of their talent: how fully they prepare, the cool under pressure, the ability to deal with an unanticipated detour, the judgment to let a moment breathe.

Capps has worked alongside Hicks for nearly 30 years. “I’m awfully biased, but at the same time I try to be objective, and I just don’t think there’s been a better golf play-by-play host all-time than Dan,” Capps says. “It’s a role that’s been blessed with a lot of good folks, Jim McKay and Dick Enberg among them. The list is deep with Hall of Famers. But Dan is unique in the way he can tell stories, weave them throughout an entire show, explaining what you’re seeing and why it’s important.”

Left: (L-R)Gil Capps, Dan Hicks and Jack Nicklaus (Photograph by Bill Fields)

Right: Tommy Roy (Photograph Courtesy of Jennifer Logue, Ponte Vedra Recorder)

 

“All hell can be breaking loose, and he’s going to come through time after time with the proper coverage,” Roy says of Hicks. “We’ve done so many hours of television together. That’s why there’s trust — he comes through every single time.”

Tirico, because of his extensive NFL play-by-play and Olympics hosting work, is more widely known to casual sports fans. He knows and appreciates that golf is different.

“You can’t please everyone,” Tirico says. “Some people want ball speed on every shot. Some people like the backstories of players. And some people just want to take a nap — they want the golf to be background noise. Golf is interesting because every time you show someone, as an announcer you could have so many different angles to explore. There’s statistics, there’s data, there’s historical material, there’s personal details about the player, there’s the shot that he’s facing or she’s facing. There are a lot of choices, and sometimes the best one in the biggest moment is to set up the shot and shut up, let people watch.”

Everyone on the crew will be looking forward to having the chance to broadcast the big moments in Pinehurst.

“Tommy has produced so many big events, and he’s clutch in the big moments,” Randolph says. “The thing I respect the most in Tommy is that he takes every show seriously and never mails it in. That said, he excels when the moment gets bigger.”

It will be the fourth Pinehurst U.S. Open that NBC has done, starting with the first one in 1999, when a star-heavy battle on a cool and misty Sunday came down to Payne Stewart’s clutch par putt on the 18th green.

“Your greatest hope in those types of moments is to take a back seat to what has happened, but you want to be able to enhance it,” says Hicks. “It can be easy to do, but you also can get in the way — and that’s what you don’t want to do.”

Hicks nailed the call after Woods sank his tying birdie on Sunday at Torrey Pines in 2008. “Expect anything different!” Hicks said, a brilliantly terse call for the ages that captured what everyone was thinking. Then he yielded to the many visuals that detailed the historic 12-footer in all its glory.

“There are always things I know we could have done better,” Roy says, “but Tiger making that putt in the 2008 U.S. Open was close to perfect. Dan’s call. All the angles. All the replays we had. Everything worked out.”

NBC’s last Pinehurst Open, in 2014, was bittersweet because it was the final one before the USGA took its championships to Fox. But in 2020, NBC regained the rights, doing the COVID 19-delayed one that year at Winged Foot and each championship since. The 2024 U.S. Open, the USGA’s 1,000th championship, will be the 25th U.S. Open for Roy and his team. (The network did a run of them in the early years of sports TV, ending in 1965.)

“It’s really cool to produce historical events, events that mean something,” Roy says. “The U.S. Open is huge.”

Like the golfers, we’ll be ready.  PS

Hometown

Hometown

A Dann for All Seasons

And a missing face in the crowd

By Bill Fields

Thousands of people will be in Pinehurst for the 124th U.S. Open. I’m going to miss someone who won’t be there.

I saw Michael Dann for the last time in 2014 during the back-to-back Pinehurst Opens. We played golf at Pine Needles, the final round of what had to be hundreds together, most of them in the 1970s when I was a teenager, he a young man, two golf nuts on a search for the secret.

His was the lower score that June day, as it usually was, although there was one notable exception in the late ’70s when we were playing at Hyland Hills in qualifying for the town amateur. I came to the 18th tee three under, needing a par to break 70 for the first time. In those days there was a bunker behind the 18th green. Pumped up, I found it with my approach and had to get up-and-down for 69. When my sand shot trickled into the hole for a birdie, Michael was happier than I was. I don’t have the scorecard or the ball from that day but can still hear him, my gallery of one, shouting, “William Henderson!” as he liked to do.

Despite a 10-year age difference, Michael was one of my best friends in those days — buddy, sounding board, mentor. We clicked from the start. I met him in 1973 when he was a volunteer instructor for Recreation Department golf lessons at the Campbell House field. I could get the ball airborne in a group of mostly rank beginners, and soon Michael and I were playing and practicing together.

We played in the heat and the cold. Once, arriving at Foxfire for a frigid one-day event, I wondered why there was a roll of Saran Wrap in Michael’s trunk. “For our feet,” he said. They stayed warm, if a bit sweaty. When Michael and Jeff Burey played a 108-hole charity marathon for National Golf Day in 1978, Mike packed a jar of pickle juice in case he started cramping on the hot summer day.

Michael had a poor man’s Hale Irwin action — a steeper plane on the way down than going back — that was grooved from years of playing a lot. He shot in the low- to mid-70s plenty of times we played, so it was no surprise when he averaged 76.50 for the six-round fundraiser at Pinehurst.

He was a writer-photographer at Golf World magazine in the 1970s, and even though he was just in his 20s, had a seasoned background in the game. His father, Marshall, had been a sportswriter in Detroit before becoming the executive director of the Western Golf Association in 1960, a post he held for 28 years. Michael grew up in the Chicago suburbs and studied journalism at the University of Illinois, where he was on the golf team. His dad ran the Western Open as part of his duties, so it made sense that the son did his master’s thesis on “Preparation and Operation of a Major Professional Golf Tournament.”

When he became director of the World Golf Hall of Fame, Michael had a chance to follow in Marshall’s footsteps and run the 1981 Hall of Fame Tournament. Because of a lack of sponsorship dollars, the event was in jeopardy until a couple of months prior to the September dates. When they had rustled up enough money to make it happen, Michael hired me, fresh out of UNC, to handle public relations. Michael and I didn’t get to play much golf in that period, but we had plenty of laughs. You are forgiven if you don’t recall that Morris Hatalsky was our champion.

Michael and his wife, Dianne, had two sons and a daughter. From 1992 until his unexpected death in July of 2014, at 65, he worked at the Carolinas Golf Association as director of course rating and handicapping. It was a long title that simply meant many folks around the two states had the opportunity to spend time around him, whose kindness, wit and love of golf made him hard to forget.

His friends and colleagues at the CGA play their annual staff tournament, The Dann Cup, in his honor, and many of us think of him often.  PS

Southern Pines native Bill Fields, who writes about golf and other things, moved north in 1986 but hasn’t lost his accent.

A Country Boy from Springfield

A Country Boy from Springfield

By Jim Moriarty

Feature Photograph: Payne Stewart during the fourth round of the 1999 U.S. Open Championship held at Pinehurst Resort and Country Club No. 2 Course in Pinehurst, N.C., Sunday, June 20, 1999. (USGA/John Mummert)

Springfield is a small town on the Ozark Plateau in a state that was red before anyone thought about color-coding them. It’s the third-biggest city in Missouri, but if it was in California, it would barely crack the top 30. The Trail of Tears passed through Springfield on what was once called the Military Road. The North and the South fought over it, and in 1865, three months after Lee surrendered to Grant, “Wild Bill” Hickok shot a man dead on its streets over a pocket watch.

In the post-World War II craze over a new medium, television, Springfield took country music nationwide with The Ozark Jubilee. A year later Chris Schenkel and Bud Palmer debuted on CBS at the Masters. Three men born in Springfield have won major golf championships, and two of them are in the World Golf Hall of Fame. St. Andrews might be the only small city east of Fort Worth to equal its output.

If Payne Stewart wasn’t in uniform, knickers custom made from bolts of Italian cloth, silk stockings, gold- or silver-tipped spiked shoes and an ivy cap in the Ben Hogan style, he was as unrecognizable in public as if a Maserati had been stripped down to a Dodge Dart. “He comes off as this real urbane, Great Gatsby type of guy,” said his longtime swing coach, Chuck Cook, “but, really, he was a Missouri mule. Just a country boy from Springfield.”

Back in the heyday of newspapers, when a sports star needed a nickname the way a clipper ship needs wind, Stewart was preceded as a major champion by Horton Smith, the Missouri Rover, and Herman Keiser, the Missouri Mortician, who won three Masters between them. While Smith was eventually associated more closely with the Detroit Golf Club and Keiser with Firestone Country Club in Akron, for a time they were both at Hickory Hills Country Club in Springfield, where Keiser worked as Smith’s shop assistant.

Hickory Hills is where Stewart learned to play, as aware of the champions who came before him as he was of characters like Ky Laffoon, who favored sky blue sweaters and socks as yellow as two daffodils, and once hustled the young Stewart on its chipping green. While Springfield’s other major champions both made their reputations in the Masters, Augusta was the big moment Stewart enjoyed least. Deeply patriotic, the National Open was above all others to him. At his father, Bill’s, insistence, he always signed his U.S. Open entry with his full name, William Payne Stewart. He didn’t like the Masters because he thought the little people were treated shabbily there, particularly the caddies.

“He really felt uncomfortable,” said Cook. “When we would go to Augusta, we’d always eat in the employee dining room instead of out front with everybody else.” Before ugly false teeth became a Halloween cliché available at every party store in America, Stewart had a set custom made by a Springfield dentist, Dr. Kurt H’Doubler. He stuck them in his mouth frequently for effect, but took particular pleasure in wearing them in the par-3 contest at the Masters.

Even if he’d lived in the age of nicknames, Stewart was too complicated for that kind of lazy gimmick. He could be arrogant and thoughtless or generous and compassionate, sometimes in the same sentence. He was a devoted practitioner of the sporting jibe, what’s mostly described now as trash talking, though it didn’t always come in the form of talk. “He was an awful fan,” said John Cook, a former U.S. Amateur champion who, like Stewart, lived in Orlando, Florida. “Just awful. I’d pick him up and we’d go to the Magic games. He’d be yelling at somebody the minute he got in the arena.”

Stewart’s seats for the NBA games were four rows behind the Magic bench, and he took great delight in ceaselessly taunting the head coach at the time, Matt Goukas. “Poor old Matty,” said Dr. Dick Coop, Stewart’s sports psychologist. “Payne just lit him up every night.” After only one season Stewart’s seats were moved, not just from behind the bench, but to the other side of the arena.

The canvas for Stewart’s needlework included golf, and he didn’t care whom he skewered. “Jack Nicklaus. Arnold Palmer. It did not matter,” said his longtime caddie, Mike Hicks. “And you know what? A lot of guys didn’t like it. Some guys didn’t mind, and if they didn’t mind, they liked Payne. But if they minded it, they didn’t like him. If they all say they liked him, they’re lying because he was tough, man. He would needle you, and he would go overboard with it. He could take it, too. But he’d get under your skin if you let him.”

Once, when Stewart was visiting Jim Morris, an old family friend in LaQuinta, California, they arranged a money game with Donald Trump. The wealthy developer was five minutes late to the first tee, but Morris and Stewart didn’t wait for him. By the time Trump pulled up in his golf cart, they were ahead on the first fairway. Stewart yelled back at him, “Trump, this ain’t one of them corporate meetings. It’s 1 o’clock and you’re either here or you ain’t here.”

Coop, at the time a faculty member at the University of North Carolina at Chapel Hill, began working with Stewart the same year Hicks became his caddie, 1988. “The first day he came to see me,” Coop said, “I told him what I’d heard about him very bluntly, very forthrightly. He calls Tracey (his wife) and she says, ‘What did he say?’ And Payne said, ‘Well, he told me I was arrogant, cocky, brash, insensitive, etc.’ She said, ‘What did you say?’ Payne said, ‘Well, I told him he was probably right.’ We started off that way.”

Stewart grew up in a one-story house on Link Street with three women and a traveling salesman, which could be a joke if it wasn’t true. His father, Bill, sold mattresses and box springs and was often on the road, leaving Payne with his sisters, Susan and Lora, and his mother, Bee, who was as rare a species in Springfield as a snow leopard: a staunch Democrat. In election season Bee filled the yard with political placards like dandelions.

“He had a lot of girl in him,” said Cook. “Ironed his own clothes. He loved to cook. He liked to dress up. Then, when he’d be with the boys, he’d be about as macho as anybody. He wasn’t afraid to try to outdrink you or outplay you or anything else.” Stewart made French toast on a local Springfield cooking show when he was 3 and reveled in making a breakfast of waffles and pancakes for his own children, Aaron and Chelsea, whenever he wasn’t traveling to play golf.

In the late 1970s, if you didn’t make it through the PGA Tour’s soulless meat grinder that was its qualifying tournament, your playing options were few. One was to go to Florida and join a mini-tour, where the prize money was the aggregate of the entry fees, less what the tour organizer skimmed off the top for himself. If they were unscrupulous, that included the prize money too. You were essentially playing for your own cash, plus everyone else’s. It was a hard lesson for even the best young former college star, being picked clean by local legends with garage-band swings who knew every blemish and blade of grass on the undistinguished courses they played. The other most commonly chosen option was the Far East, and that was where Stewart found himself after graduating from Southern Methodist University and failing to get his tour card.

Two of his traveling buddies in Asia were the Anton twins, Terry and Tom, who had played at the University of Florida. Because of the springy way they stepped, with their heels off the ground, Stewart called them Tip Toe I and Tip Toe II. While Stewart’s confidence in his golf game crossed the border of cockiness without clearing customs, it was actually more a case of the sum being greater than its parts. He swept the club back with a lag reminiscent of Bobby Jones and the hickory-shaft era. His tempo looked as effortless as the human eye wandering through a Cézanne still life, but he was neither a great driver of the ball nor the best iron player nor the best putter. In his prime, though, when it came to the short shots around the green, inside 75 yards or so, he had no peer. Some of that was learned from the hustlers in Springfield, but some of it was imported from Asia.

“We had a tremendous admiration for the Asian players’ short games. All of us learned,” said Tom Anton. “It was a great training ground. They showed us techniques around the greens, out of the bunkers, shots we’d never seen before. We’d bomb it by them but from 100 yards in, they were magicians.”

Besides a short game, the other significant acquisition Stewart made was in Kuala Lumpur when he met a 20-year-old Australian woman named Tracey Ferguson, who was at one time a draftsperson employed by Greg Norman’s father at Mount Isa Mines. He fell in love with her the moment he saw her in a string bikini. Stewart succeeded in making it through the PGA Tour’s spring qualifying school in June ’81, the same month David Graham played a near-flawless final round at Merion Golf Club to become the first Australian to win the U.S. Open. He and Tracey were married that November.

While Stewart won twice in Asia and again at the ’82 Quad Cities Open, the only tour tournament his father saw him win, his early reputation was that of a player who could come close but not finish it off at the end. He lost playoffs in ’84, ’85, ’86 and ’88. He compiled so many seconds his nickname was Avis. When he finally won the ’87 Hertz Bay Hill Classic, he donated the winner’s check to charity in honor of his father, who had passed away two years before from cancer.

After finishing in a tie for 24th in the Masters in ’89, Stewart won the next week at the Harbour Town Golf Links, an event played on a classic South Carolina low country course designed by architect Pete Dye and known for the quality of its champions, a list that included Palmer and Nicklaus, Johnny Miller and Tom Watson. Stewart would become the first player to successfully defend that title. It was in August ’89 at a Chicago suburban course named for an insurance company, Kemper Lakes, where Stewart captured his first major championship in typically controversial style.

By that time, it felt like most of the big stuff had already been done. Nick Faldo won the first of his three Masters on the second hole of sudden death when Scott Hoch agonized over, and then missed, a 2-foot sidehill wobbler on Augusta National’s 10th. The big story of the year was Curtis Strange, who took advantage of Tom Kite’s final-round 78 to become the first player since Ben Hogan to win back-to-back National Opens. “Move over, Ben,” said Strange. In the wake of the Open Championship, all the conversation was about how star-crossed Greg Norman let yet another major championship elude him. Mark Calcavecchia won at Royal Troon, defeating Australians Wayne Grady and Norman, who couldn’t even post a score in the four-hole aggregate playoff.

Stewart had played progressively better in each of the 1989 majors, going into the final round at Royal Troon just two shots behind Grady, one better than Calcavecchia. After closing with a 74, however, he was nothing more than an afterthought going into the PGA at what would become storm-ravaged Kemper Lakes — especially since he’d shot 75-76 in Memphis the weekend before. It was Mike Reid, a product of Brigham Young University, slender as a cattail stalk whose reverse-C finish was so pronounced it made grown men wince, who took command almost from the outset. Reid, nicknamed “Radar” because his drives, though short, tracked the center of what seemed like every fairway, was tied for the lead after the first round and alone at the top after 36 and 54 holes. Stewart, dressed as he did every Sunday in the colors of the local National Football League team, this time the Bears, went into the final round a full six shots off the pace.

A five-birdie back nine of 31 pulled Stewart within two of Reid’s lead and gave him reason to stick around. In April Reid had led the Masters after 13 holes on Sunday and didn’t finish well, but that disappointment was nothing compared to what happened at Kemper Lakes. He bogeyed the 16th to lose half his lead, and then smothered a lob shot from just off the 17th green and double-bogeyed, shockingly dropping a shot behind. Stewart couldn’t be still in the scoring area, pacing back and forth, even mugging for the camera. Reid had a chance to birdie the 18th to tie him but missed a 7-footer.

Stewart’s glee was demonstrable. He emerged from the scoring tent slapping high fives with anyone he saw, and that, unfortunately, included Reid as he came off the course. Stewart’s pleasure seemed blissfully ignorant of Reid’s pain. “I’m 32. I hadn’t won a major, and everybody all over the world is always asking me why,” he said. “They did the same thing to Curtis and look what happened. He won back-to-back U.S. Opens.” The contrast of Stewart’s self-satisfaction and the unselfconscious tears of the mild-mannered Reid was so stark that what should have been the affirmation of the skill and ability Stewart always believed he possessed became, instead, the coast-to-coast confirmation of his most unpleasant character traits.

Very soon after Coop began working with Stewart, he suspected his new client had attention deficit disorder and sent him to a clinician for a proper diagnosis. “I’ve got to give him tremendous credit,” said Coop. “When he found out what he had, he talked to people about it. He didn’t hide it. God gave him tremendous rhythm and tempo and neuromuscular skills, but God didn’t give him concentration.”

The knowledge of the condition led Coop and Cook to devise practice sessions tailored for someone whose ability to concentrate was, at times, tenuous. It wasn’t always, though. “With the ADD, the U.S. Open was always set up so hard that he was able to focus during the tournament,” said Cook. “The rough was so tough and greens were so fast and hard, it created a lot of focus for him that he didn’t have in a run-of-the-mill tournament.”

In March ’91 Stewart was wearing a brace to stabilize a herniated disk in his neck that had caused him to lose strength in his left arm. Reduced to nothing more than a spectator in his own backyard at Bay Hill during Arnold Palmer’s tournament, he was out for 10 weeks and unable to play in the Masters. An exercise regimen helped rehabilitate the neck, but Stewart would struggle the rest of his career with three degenerative disks in his lower back. He played at Harbour Town the week after Augusta, tied for fourth, and took aim on his most prized goal, the U.S. Open at Hazeltine CC, outside Minneapolis.

The U.S. Open had been at Hazeltine on one previous occasion, when the Englishman Tony Jacklin won in 1970, and the layout of architect Robert Trent Jones was mocked as if it had been drawn up by a 4-year-old with finger paints. After the ’70 Open, Jones made some changes, augmented later by his youngest son, Rees, a second-generation golf course architect like his older brother, Bobby.

By the time the U.S. Open returned to Minnesota, it had a trio of finishing holes as tough as any in golf, holes that would cost Scott Simpson a second national championship. Simpson, who would later become almost as well known for being actor Bill Murray’s patient partner in the annual Pebble Beach pro-am started by Bing Crosby, birdied the 14th, 15th and 16th holes in the ’87 U.S. Open at Olympic Club outside San Francisco to beat eight-time major champion and local favorite Tom Watson, who had attended Stanford University, just up the 101 Freeway.

Simpson, a University of Southern California product himself, finished in the top 10 in the next two U.S. Opens (the ones won by Curtis Strange) to earn a reputation as a dependable Open player. He had an unusual action. At address he’d slowly lower his upper body toward the ball and then rise up as he took the club back to the top. Though their swings were as similar as a Van Gogh and a mechanical drawing, Stewart and Simpson had at least one trait in common: Neither was given to making the big mistake. In a U.S. Open brilliance has far less to do with swashbuckling shotmaking than it does the ability to avoid calamity, shot-by-shot, hole-by-hole, until you’ve simply outlasted your peers. It’s about as glamorous as being stuck with the check.

Just like at Kemper Lakes two years before, a violent summer thunderstorm hit Hazeltine, but this was far worse than just an interruption in play. A darkening sky filled with electricity halted the first round just after 1 o’clock, and six men took shelter underneath the branches of a small willow tree 30 yards or so from the 11th tee. Two flashes of lightning knocked all six to the ground. William Faddell, who was not even a golf fan but who had been given the tickets by his father, died of cardiac arrest. Two months later, at the PGA Championship at Crooked Stick outside Indianapolis, another spectator, Thomas Weaver, was killed by lightning in the parking lot. The confluence of tragic events led to golf’s organizers forever changing the way they treated hazardous weather.

When play resumed, the rain-softened course gave up some good scores, including Stewart’s opening 67, which tied him with Nolan Henke, a Battle Creek, Michigan, native who would just as soon have been fishing as leading the U.S. Open. By the end of three rounds Stewart and Simpson had managed to separate themselves from the field by three shots. For almost all of Sunday Simpson was in firm control. Almost is the operative word. He reached the final three holes with a 2-shot lead over Stewart but bogeyed the 16th and 18th, while Stewart made a brave 5-footer at the last to force the Monday playoff. By the next day Hazeltine’s greens had baked out, turning crusty and unforgiving. Again, Simpson came to the last three holes with a 2-shot lead, and, again, it wouldn’t hold up. Stewart made a 20-footer for birdie on the 16th, while Simpson missed from inside 3 feet for bogey. Rattled, Simpson pulled his 4-iron on the 17th into the pond and scrambled for another bogey. Now, he was down a shot. Simpson’s approach at the 18th ran through the green, and with Stewart 5 feet away for par, he tried to chip in but couldn’t. Stewart won, 75-77.

Left: Payne Stewart during the third round at the 1999 U.S. Open Championship. (USGA/J.D. Cuban)

Middle: Payne Stewart holding the trophy after the final round of the 1999 U.S. Open. (J. D. Cuban/Courtesy USGA Museum)

Right: Payne Stewart during the fourth round of the 1999 U.S. Open Championship held at Pinehurst Resort and Country Club No. 2 Course in Pinehurst, N.C., Sunday, June 20, 1999. (USGA/J.D. Cuban)

“It’s disappointing to lose the U.S. Open two days in a row,” said Simpson, who had played those last three holes eight over par for the week to Stewart’s one under. When it was over Stewart bought champagne for the media, a grandiose gesture he now shared with Tony Lema, who died in a plane crash 33 years before Stewart did. “I come off as arrogant sometimes,” Stewart explained to the press. “Maybe you guys caught me at the wrong time a couple of times. If you got to know me, I’m a pretty nice guy, and by God, I’ll buy champagne anytime you want it.”

In some ways the next few years were not kind to Stewart. In others they were the kindest of all. With two major championships he could command lucrative, for those days, endorsements, and he landed an equipment deal that paid him handsomely but poisoned his game. If Scott Simpson had had a reputation as a man who showed up in the U.S. Open, Stewart did, too, finishing a gut-wrenching second to Lee Janzen, not once but twice. In 1993 at Baltusrol GC in New Jersey, Janzen hit it through trees on the 10th, chipped in on the 16th, and caromed a shot off another tree and into the fairway on the 17th. He hit just six fairways and 11 greens on Sunday and beat Stewart by two.

Stewart’s back had become a never-ending source of discomfort. And, by 1994, he had the kind of midlife career malaise many top players experience. He began to wonder if it was all worth it. There is little doubt Stewart became a different person the last years of his life. He found a peace of mind that had eluded him from the time he was a boy in the balcony of Springfield’s Grace Methodist Church, where he couldn’t sit still and his father sang too loudly. “The last two years of his life, he was a really good person,” said Hicks. “He just walked a different walk.”

Everyone who knew him saw it. “He was so much more thoughtful. He was so much more concerned about other people,” said Coop. “He was more at peace with himself, too. It wasn’t a logical peace. He fought to find that peace by playing harder or playing better or being more popular, and that’s just not where it comes from. The religion really gave him a sense of what was important. I think he didn’t try as hard to be liked, and he was liked more. He was accepted more by not trying so hard to be accepted.”

Stewart, who had won only once following Hazeltine, finished second to Janzen again in the U.S. Open, this time at the Olympic Club in ’98. On Friday the USGA used a lamentable back pin position on the steeply sloped 18th green, and, with the possible exception of Tom Lehman, who four-putted it, few were bitten harder than Stewart. After missing a short, curling birdie putt, Stewart could only fold his arms, furiously chew his gum, and watch stone-faced as his ball rolled and rolled 25 feet back down the slope. Though he’d held a 4-shot lead going into Sunday, Stewart played poorly in the final round. While luck shined on Janzen once again, this time on the fifth when his tee shot into the tops of the cypress trees dropped to the ground even as he was walking back to re-tee, Stewart wasn’t as fortunate. After struggling to find a fairway, he finally did with a 3-wood on the 12th, but the ball settled into a sand-filled divot. The bad break led to two more bogeys, the most critical at the 16th, and he eventually lost to Janzen by a shot. But this was a far different Stewart than the one who had seemed so callous in victory over Mike Reid at Kemper Lakes. “He was about as gracious a loser as you could possibly have,” said Cook. “He congratulated Lee. Talked about how well Lee played, about how he just didn’t have it that day.”

Stewart’s showing in San Francisco had reinforced his self-belief for the following year in Pinehurst. Generally considered Donald Ross’ finest work among the 400 or so courses he created, the heart and soul of the No. 2 Course are its domed greens. The Pinehurst Resort suffered through some tough financial times in the ’70s and ’80s, and the No. 2 Course’s reputation had taken a hit as well. With rough grown up right to the collars of the putting surfaces, it was thought to be too easy a mark for the modern player. It wasn’t until PGA Tour commissioner Deane Beman brought the Tour Championship there in 1991, shaving the green embankments to restore the character of the course, that No. 2’s challenge emerged from its own shadow. The only course in America easily identified simply by an integer, only the best-struck shot would hold No. 2’s greens. If a player’s ball rolled off into a collection area, his next shot offered a dicey set of choices — lob it up on top, pitch it into the bank, putt it up the hill. That’s all well and good if you’re smoking cheap cigars and playing a $5 Nassau with a group of high handicaps, but when there’s a national championship at stake, those decisions become a hall of mirrors.

Stewart traveled to North Carolina after missing the cut in Memphis. He put the weekend to good use, playing a practice round with Cook, and carrying just his chipping clubs and a putter. They mapped the greens, marking them with red lights, green lights and yellow lights for the places he could not, or should not, hit the ball.

Pinehurst wasn’t the first time he and Cook had plotted a course that way. They did the same thing for every Open Championship links, too. Pinehurst, however, was the only time Stewart ever carried his yardage book himself, usually preferring to leave that job to his caddie, Hicks.

For the second straight year Stewart went into Sunday’s final round with a lead, just one stroke this time instead of the four shots he had in hand at the Olympic Club. And, for the second straight year, he was overtaken on the back nine, this time by the man he was playing beside, Phil Mickelson. And, for the second straight year, he had a tee shot land in a sand-filled divot, this time on the fourth hole. But after his experience at Olympic, he’d spent time practicing the shot and saved his par. Vijay Singh and Tiger Woods took runs at the lead, but, in the end, the championship came down to Stewart and Mickelson and the final three holes.

Only once during the week did Stewart make a red-light mistake, missing the green in the worst possible spot on the par-3 15th on Sunday. The designation earned its distinction when he had to make a long putt just to salvage the bogey that dropped him a shot behind Mickelson. Sunday of the U.S. Open always falls on Father’s Day, and Mickelson, who had just turned 29 and had yet to win his first major, was carrying a buzzer in his golf bag waiting for a call from his wife, Amy, who was expecting the couple’s first child.

On the 16th, normally a par-5 played as a par-4 during the Open, Mickelson gave Stewart’s shot back with a bogey of his own. Both players missed the green, and Stewart hit one of his weakest chips of the week, leaving himself a downhill, double-breaking 20-footer. When he curled it in the center, he barely reacted. For Coop, this was one of the most telling moments of their 11 years together.

“That putt on 16, you couldn’t make with a bushel of balls,” said Coop. “All he did was raise his right index finger to acknowledge the crowd and went right back into concentration. We worked so hard on that, so hard, not to get too high, not to get too low. He worked on his deficiencies.” With Stewart in the hole with par, Mickelson’s 8-footer missed, and now they were tied again with two to play and no one else really in the game after Woods’ bogey at the par-3 17th.

Stewart hit his 6-iron 4 feet from the hole on the 17th, and Mickelson followed with a 7-iron 8 feet away. Mickelson missed on the right, and Stewart holed to retake the lead going to the last, an uphill par four of 446 yards. Mickelson found the fairway, but Stewart’s drive landed in the right rough. All day it had been wet and uncharacteristically cool for North Carolina in June, when it’s more likely to be in the 90s than the 60s. On the practice ground, a place called Maniac Hill, Stewart had taken out his navy blue rain jacket during his warm-up but didn’t like the way it restricted his swing, so he cut the sleeves off with a pair of scissors. As Hicks and Stewart walked up the hill against the cold drizzle, the carillon from The Village Chapel, just a couple of blocks away, chimed “Amazing Grace.”

The moment Stewart saw his lie in the thick Bermuda rough, he never thought of anything but laying up short of the cross bunker. From there he’d have a 75-yard wedge shot into the back-left pin. Mickelson hit his second on the green but left himself a 25-footer with a huge right-to-left swing in it, hardly a putt he could expect to make. Trying to cobble together a classic, scrambling U.S. Open par, Stewart wedged his third 20 feet below the hole. Mickelson missed, and Stewart made his right in the middle again. This time he rose up on one leg and punched the air. Hicks tossed the flagstick away and flew into his player’s arms, wrapping his legs around him.

After picking up his golf ball, Stewart took Mickelson’s face in both his hands and told him, “You’re going to be a father. You’re going to be a father.”

That night the Open champion and his caddie drove to Mebane, North Carolina, Hicks’ hometown, for a fundraiser the following day. Stewart never entertained the notion of not showing up. Instead, the two of them sat up most of the night in Hicks’ kitchen taking turns drinking champagne from the U.S. Open trophy until the caddie could sneak away to bed unnoticed.

In September, as the days shorten, the Ryder Cup Matches have early starts, particularly the morning sessions of either four ball or foursomes. Warm-ups can begin before sunrise, and often the matches don’t end until dark. Stewart loved his music. He played in Peter Jacobsen’s band Jake Trout and the Flounders, and he was a devoted Jimmy Buffett parrothead. He traveled with a case of harmonicas in a range of keys, all of which he could violate without the slightest hint of remorse. But he was never more purposefully musical than he was at a Ryder Cup. Whenever Stewart was on the U.S. side, which he was five times, wake-up calls were completely unnecessary. Up before any of his teammates, Stewart would blast Bruce Springsteen’s “Born in the USA” at full throttle for everyone in the hotel, American and European alike, to hear. If Seve Ballesteros liked nothing better than beating Americans, Payne Stewart liked nothing better than playing for his country.

At The Country Club in Brookline, the course where Francis Ouimet won the 1913 U.S. Open in a playoff against British legends Harry Vardon and Ted Ray, the U.S. team fell woefully behind after the first two days. The Americans were four points behind, 10-6. No lead that large had ever been overcome in the history of the matches. U.S. captain Ben Crenshaw front-loaded his lineup, and the Americans won the first six singles. When Justin Leonard rolled in an improbable monster putt on the 17th, the green near Ouimet’s house where he made the crucial stroke against Vardon and Ray, the Americans stormed thoughtlessly onto the green while José Maria Olazábal stood in stoic dignity, still with a chance to halve the hole. He didn’t, though. Crenshaw kissed the green where Ouimet had beaten the Brits. The stunning U.S. comeback was complete but for one thing.

The match directly behind Leonard and Olazábal was Payne Stewart and Colin Montgomerie. The Boston crowd had been enormously unkind to Montgomerie, hurling insults about his game, his team, his body, anything they could think of. Some particularly well-lubricated and obnoxious fans were ejected from the grounds at Stewart’s insistence. When Stewart picked up Montgomerie’s ball on the 18th green at The Country Club, giving him the match, Hicks thought it was his player’s finest moment, greater even than the 18th green at Pinehurst just months before.

“What he did with Monty was the proudest moment I ever had,” said Hicks. “The old Payne Stewart wouldn’t have done that. He wouldn’t have been thinking about the big picture. I was proud of the way he handled himself the whole day. Those people were ruthless.”

The first person Stewart saw on the green was Montgomerie’s wife at the time, Eimeer. He hugged her and apologized for the fans’ behavior. At 42 Stewart had become a man in full.

It was a cool morning in Orlando, Florida, on October 25, with a few puffy white clouds in the sky. By afternoon it would be in the 70s, a perfect day for golf, and flying. Michael Kling, a captain for Sunjet Aviation, came to work at 6:30 a.m. His first officer, Stephanie Bellegarrigue, arrived 15 minutes later. They inspected and fueled Learjet n47bA, loaded a cooler with ice and soft drinks on board, and left Sanford, Florida, for Orlando International Airport at 7:54 a.m. to pick up their passengers: Payne Stewart; his agents, Van Arden and Robert Fraley; and Bruce Borland, a last-minute addition from Jack Nicklaus’ architectural team who was anxious to work with Stewart on a golf course project near Dallas.

Stewart and his wife, Tracey, were up early that morning, too. She had an appointment with a chiropractor, and Payne made pancakes for the children, Chelsea and Aaron, before the three of them left for school around 7:30 a.m. Stewart had angered some of his professional friends because he’d backed out of a commitment to play in a fundraising event that day hosted by Arnold Palmer at Bay Hill. Instead, he would stop in Dallas on his way to Houston for the Tour Championship.

The Learjet took off from Orlando International Airport at 9:19 a.m. After a series of altitude clearances, at 9:26 a.m. the pilot was instructed to change radio frequency and contact a Jacksonville controller, who cleared them to climb to, and maintain, flight level 390 to Dallas. The response, “Three nine zero bravo alpha,” are the last known words to have been spoken on the airplane.

From that moment until 12:12 p.m. central daylight time, n47bA was first intercepted by an F-16 from the Fortieth Flight Test Squadron at Eglin Air Force Base, then followed by two Oklahoma Air National Guard F-16s, joined by a pair of North Dakota Air National Guard F-16s. All reported the windows fogged or frozen and no signs of life. A cataclysmic loss of cabin pressure had turned it into a ghost ship. For nearly four hours, first in great confusion and then heartbreaking resignation, the saga played out on cable news as the Learjet flew like a porpoise through the air. Stuck in a climb, it bumped up against its maximum altitude of 48,900 feet, descended to a level where its engines functioned more efficiently, and then climbed back to its apex over and over again until its fuel tanks ran dry.

It came down like a javelin in a field outside of Mina, South Dakota, down a dirt road, behind bales of hay, where Jon Hoffman’s cows grazed. The entry wound in the Earth was shockingly compact, as much a grave as a crash site. “That’s where they are,” Hoffman said. Stewart’s last flight ended on land owned by a working man who built his own driving range just off his back porch so he could hit balls on summer evenings.

A polished stone unearthed by the force of the crash serves as its memorial. In part the engraving on it says:

He brought me up out of the pit of destruction,

Out of the miry clay;

And he set my foot upon a rock

And he gave me a firm place to stand. PS

Adapted from Playing Through: Modern Golf’s Most Iconic Players and Moments by Jim Moriarty by permission of the University of Nebraska Press. Copyright 2016 by Jim Moriarty. Copies of Playing Through can be obtained at https://www.nebraskapress.unl.edu/nebraska/9780803278653/

Art of the State

Art of the State

Wild Clay, Ancient Art

Takuro and Hitomi Shibata shape pots — and their community

By Liza Roberts

Eighteen years ago, when ceramic artists Takuro and Hitomi Shibata moved to Seagrove from the ancient pottery village of Shigaraki, Japan, they had with them nothing but a couple of suitcases, a rescued stray cat and plans for a short adventure.

Today they are pillars of the community. Hitomi is a respected and prolific Seagrove ceramic artist, and Takuro, a fellow potter and the procurer and refiner of most of the area’s local clay, is a community fulcrum. They live with their two American-born sons on Busbee Road in a striking modernist house designed by a protégé of famed architect Frank Harmon, built in part with their own hands. Their wood-fired kilns are a stone’s throw from its front door, and the tiny farmhouse where they first lived on the property now serves as a gallery for their work. Their former garage is now their studio.

The art they make here and sell under the Studio Touya name is distinctly their own. Hitomi’s sculptural pieces have the rounded, organic shapes of abstract feminine nudes. Takuro’s are distinct for their architectural geometry, acute angles and jutting planes. It’s impossible to see the couple’s pieces side by side and not admire the harmony of their yin and yang. 

A reverence for local clay is at the heart of the couple’s individual art and their mutual business. They put that shared love and knowledge into Wild Clay: Creating Ceramics and Glazes from Natural and Found Resources, a book they co-wrote and published with Herbert Press in 2022. Its publication took their local story to an international audience, changing their business and their work in the process.

“We have been very busy doing more exhibitions and workshops outside of North Carolina, nationally and internationally,” Hitomi says. “Especially after releasing our book, we were invited to ceramic conferences, meetings and workshops to talk about our clay stories from Shigaraki to North Carolina.” When so much time on the road meant less time for making pots, the couple decided to refine their work. “We tried to improve the quality of our art,” Hitomi says. “Also, using beautiful wild clays and natural materials, which we have been doing for many years, became even more important for our artistic practices.”

Finding Home 

The couple credits the Seagrove community and its native clay for nurturing the art they originally learned in Shigaraki. The first time they saw this place, they had a feeling it would be important to them. “We were surprised,” Hitomi recalls. “There were so many pottery studios. We realized Seagrove was the biggest pottery community in the United States.” 

They’d come down from a Virginia artist’s residence on a Greyhound bus at the invitation of Nancy Gottovi (now executive director of nearby arts hub Starworks) and her husband, Seagrove potter David Stumpfle, who had visited Shigaraki a few years earlier.

The Shibatas loved what they saw, but their visas were up.

Two years later, Gottovi called again. She was working with Central Park NC, an organization dedicated to preserving the natural and cultural assets of central North Carolina, and offered Takuro, who has an engineering and chemistry degree, an opportunity to establish a clay factory to serve Seagrove’s potters.

The Shibatas jumped at the chance. People in Seagrove, they believed, truly understood the value of pottery. In other places, Hitomi says, “people love art, but they don’t think that pottery is the same thing as art. But here, people are so crazy about pottery. They love the tradition, they have so much appreciation . . . it’s part of the history of the state.”

The Pottery Ecosystem

Today, Starworks Ceramics is an integral part of the Seagrove pottery ecosystem, and it’s growing. “We went through a tough time during the pandemic,” Takuro says, “but now we have more people working, and it’s a great team. Our clay is getting more popular, and potters and artists support not only our clays, but the story of a clay factory.”

The process is laborious: Takuro takes raw clay dug from the earth and turns it into a viable material. The equipment he and his assistants use to refine it is massive and low-tech, the stuff of a fairy-tale giant’s bakery. Some of it is from the 1940s. There’s a shredder, a mixer, a separator and a vibrating screen; there are things called filter presses and pug mills. All of it fills a cavernous warehouse room. Massive buckets of what looks like sticky dirt go in one end; several days of man and machine power later, neat clay cubes come out the other. These cubes are sold in increasing numbers to potters in Seagrove and around the world.

“Using wild clays for pottery in the studio is a growing trend in American ceramic art education and in small pottery businesses,” Takuro says. “It’s good for people to think about sustainability and the environment. However, these methods have been used and improved for thousands of years all over the world. Nothing is new.”

He hopes his clay and the couple’s book inspires more potters around the country to learn about the clay histories in their own regions: “Our clay story is very personal, and our clay experience doesn’t cover all wild clays, but we heard from readers that many places in the world have interesting histories, communities and people who work in clay. We believe clay is universal.”

At the same time, Takuro knows that what makes and sells at Starworks can’t be found just anywhere. “North Carolina clay is special,” he says. “It’s high in silica, it can be fired at high temperatures and it is from this place.”  PS

This is an excerpt from Art of the State: Celebrating the Art of North Carolina, published by UNC Press.

Blast from the Past

Blast from the Past

Photographs by Tim Sayer

The great Harry Vardon won the sixth U.S. Open ever played in 1900 at the Chicago Golf Club. Max Busser, the lead assistant professional at Pinehurst No. 8, strikes the pose.

Francis Ouimet stunned the world when he defeated Harry Vardon and Ted Ray in the 1913 U.S. Open at The Country Club in Boston. Cole Stiles, the head professional at Pinehurst No. 7 and No. 9, stands in for Ouimet while his son, Parker, assumes the role of Ouimet’s faithful caddie, Eddie Lowrey.

The immortal Bobby Jones won the U.S. Open four times between 1923 and 1930 in addition to his three Open Championship titles, his five U.S. Amateur championships and a single victory in the British Amateur. Matt Barksdale, Pinehurst Resort’s director of golf, plays the part.

Gene Sarazen, the inventor of the modern sand wedge, won the U.S. Open in 1922 and 1932. He’s appropriately portrayed by Rob Lane, the lead assistant at Pinehurst’s newest course, No. 10, the Sandmines.

The Hawk, Ben Hogan, won the U.S. Open four times between 1948 and 1953 in addition to his five victories in golf’s other three major championships. Andrew Swindon, the assistant professional at Pinehurst’s No. 7 and No. 9, steps into his shoes.

Arnold Palmer, the King, charged from behind at Cherry Hills Country Club to add his lone U.S. Open crown to his four Masters titles and two Open Championship victories. Matt Nunez, the head professional at Pinehurst Country Club, holes the putt.

Jack Nicklaus, whose 18 major championships place him alone at the pinnacle of the sport, captured four U.S. Open titles, the first in 1962 and the last in 1980. Tyler Yancey, the head professional at Pinehurst Sandmines, the new No. 10, plays the Golden Bear.

Lee Trevino, the Merry Mex, won the U.S. Open in 1968 and 1971, outdueling Jack Nicklaus in each. The toss of the cap is by Carlos Rodriguez, Pinehurst’s assistant pro at the No. 7 and No. 9 courses.

Johnny Miller’s final round of 63 on his way to winning the 1973 U.S. Open at Oakmont Country Club was one of the greatest rounds in Open history. Evin Wheaton, the assistant golf professional at the Padgett Learning Center, lines up the putt.

Pinehurst’s first U.S. Open in 1999 provided one of the most exciting finishes the championship has ever seen. The statue of Payne Stewart, relocated temporarily for the 2024 U.S. Open, occupies a place of honor behind the 18th green to prove it. Ryan Shpak, the manager of the Padgett Learning Center and a Pinehurst Golf Academy instructor, kicks up his heels.

The U.S. Open Issue

The U.S. Open Issue

Feature Photograph: USGA/Fred Vuich

It’s golf’s most demanding test; it’s most exhausting week.


A U.S. Open examines every aspect of a player’s game and seeks to reveal every attribute a golfer can possess — awesome power, an angelic touch, a gladiator’s heart. Our tribute to this year’s National Open begins with a nod to history, portrayed by some of Pinehurst Resort’s own professionals assuming the poses of champions past. Tom Stewart, owner of Old Sport & Gallery provided the vintage clubs with costuming help from Showboat Costumes. Of course, it’s been 25 years since the late Payne Stewart made his stunning par on the 72nd hole to finish off one of the most exciting U.S. Opens ever played. In honor of Stewart, we’re running an excerpt about him, “A Country Boy from Springfield,” from the 2016 book Playing Through. Sandhills native Bill Fields is a researcher on NBC’s golf telecasts and he invites us inside the compound for a behind the scenes look at what it takes to broadcast the U.S. Open across the globe. Lee Pace, whose golf knowledge of Pinehurst is unparalleled, tells us all about the USGA’s new Golf House Pinehurst and the return of the World Golf Hall of Fame. Jim Dodson plays a round of golf with Bob Dedman Jr., the most laid-back, down-to- earth guy who ever owned his own U.S. Open venue. Last, but far from least, Charlotte native Ron Green Jr. — for our money the best golf writer in America — answers the question “Where have all our champions gone?” And, just think, we get to do this all over again in five short years.

Dissecting a Cocktail

Dissecting a Cocktail

Transfusion

Story and Photograph by Tony Cross

Unless you’ve frequented a golf course, you may never have heard of the Transfusion cocktail. Over the past decade, it’s become just as popular, if not more than, a John Daly. This three-ingredient cocktail of vodka, ginger ale and grape juice is a staple with some non-beer-drinking golfers. It’s refreshing to drink, and bartenders can make them with ease. The Transfusion has become such a hit, and my business got so many requests to make them on draught, that I finally caved and deliver them in kegs and growlers — easy access.

So, where did the Transfusion originate? Story has it that President Dwight D. Eisenhower asked a beverage attendant what was available, picked the three ingredients he liked, and sipped it from a tall glass with ice. Ever since, he enjoyed them after his round. Presidents can be very influential, I’m told, so I doubt he drank alone. One thing is for sure: Many will be concocted (and delivered) at this year’s U.S. Open.

 

Specifications

2 ounces vodka

4 ounces ginger ale

1 ounce Concord grape juice

Lime wedge for garnish

 

Directions

Combine vodka, ginger ale (Reverie uses our homemade ginger beer) and grape juice over ice in a tall glass — or plastic if you’re in a golf cart. Stir gently and garnish with a lime wedge.  PS

Tony Cross owns and operates Reverie Cocktails, a cocktail delivery service that delivers kegged cocktails for businesses to pour on tap — but once a bartender, always a bartender.