PinePitches August 2024

PinePitches August 2024

Right: Warm Lighting, by Courtney Herndon. 2023, Best in Show winner

Art Is All Around Us

Channel your inner art critic at the opening reception for the Arts Council of Moore County’s Fine Arts Festival from 6 p.m. to 8 p.m. on Friday, Aug. 2, at the Campbell House, 482 E. Connecticut Ave., Southern Pines. In its 44th year, the festival provides a major platform for artists from all over the country to display their work. See which entries won cash prizes and ribbons, and gossip with your friends over whether or not you agree with the rulings. Go to mooreart.org for additional information. If your art appreciation runneth over you can attend the opening of “More Than Miniatures — Small Art” on the same day, from 5 p.m. to 7 p.m., at the Artists League of the Sandhills, 129 Exchange St., Aberdeen. For information go to www.artistleague.org. Either way, your eyeballs get a workout.

Start Counting

Become a citizen scientist for a day on Saturday, Aug. 24, when North Carolina joins forces with Georgia, South Carolina and Florida in the Great Southeast Pollinator Census. The Williamson Pollinator Garden at the Ball Visitor’s Center at the Sandhills Horticultural Gardens at Sandhills Community College, 3395 Airport Road, Pinehurst, will be the site for the census from 9 a.m. to 11 a.m. Prior to the 24th, those wishing to participate should register for a 15-minute interval to count pollinator interactions on a designated plant. For more information and to register go to www.sandhills.edu/horticultural-gardens/upcoming-events.html.

Double Your Pleasure

The Sunrise Theater, 250 N.W. Broad St., Southern Pines, offers two operas from The Met this month. The first, La Cenerentola (Cinderella), by Gioachino Rossini, is the story of Angelina, the stepsister who serves as the family maid who sings her favorite song about a king who marries a common girl. Destiny, anyone? It shows at 1 p.m. on Aug. 3. The second opera, Turandot, by Giacomo Puccini, tells the tale of Prince Calaf, who must solve three riddles to win the hand of the cold Princess Turandot. It will be screened at 1 p.m. on Saturday, Aug. 24. For additional information visit
www.sunrisetheater.com.

On the Right

The James E. Holshouser Jr. Speaker Series presents L. Brent Bozell III, the founder and president of Media Research Center on Wednesday, Aug. 14, at 5 p.m. at BPAC’s Owens Auditorium, 3395 Airport Rd., Pinehurst. A lecturer, syndicated columnist, television commentator, author and activist, Bozell is one of the most outspoken leaders in the conservative movement. He has been a guest on numerous television programs, including the O’Reilly Factor, Nightline, The Today Show and Good Morning America. He appeared weekly on the “Media Mash” segment of Hannity, on Fox News. Bozell received his B.A. in history from the University of Dallas.

Funny Days

Take a riotous musical journey back to 1967 with Jeffrey Hatcher’s side-splitting comedy Mrs. Mannerly starring Linda Purl (The Office, Happy Days, Matlock) and Jordan Ahnquist (Shear Madness), beginning Friday, Aug. 2, at 8 p.m., in the intimate McPherson Theater at the Bradshaw Performing Arts Center, Sandhills Community College, 3395 Airport Road, Pinehurst. Set in Steubenville, Ohio, this uproarious play follows the ambitious and mischievous young Jeffrey as he enrolls in an etiquette class taught by the formidable Mrs. Mannerly, a teacher with a mysterious past and a zero-tolerance policy for rudeness. The show continues with performances on Aug. 3, 4, 8, 9, 10 and 11. For tickets and information go to www.ticketmeshandhills.com or judsontheatre.com.

Farce in the Park

The Uprising Theatre Company will present William Shakespeare’s dang near slapstick saga of mistaken identity, The Comedy of Errors, beginning Friday, Aug. 16, from 7:30 p.m. to 9 p.m. in the annual outdoor Shakespeare in the Pines production in Tufts Memorial Park, 1 Village Green Road, Pinehurst. There will be additional performances on Aug. 17, 18, 23, 24 and 25. For more information go to www.vopnc.org or www.ticketmesandhills.com.

Live After 5

Dance part of the night away with the Raleigh band Punch, whose song list stretches from ’70s and ’80s funk and retro to Motown, beach, country and jazz, at the Village Arboretum, 375 Magnolia Road, Pinehurst, on Friday, Aug. 9, beginning at 5:15 p.m. Whiskey Pines will take the stage as the opening act. As always, there will be kids’ activities, food trucks, beer, wine and low-octane beverages. For more information go to www.vopnc.org.

Jazz on the Green

The Sandhills Community College Jazz Band will feature the music of Henry Mancini and Stevie Wonder in its third and final concert of the 2024 Summer Concert Series on Monday, Aug. 12, from 6:30 p.m. to 7:30 p.m. on the library green of the SCC campus, 3395 Airport Road, Pinehurst. Max’s Millstone BBQ will serve food beginning at 5 p.m. The concert is free and, in the event of rain, it will move inside to Owens Auditorium.

Authors in the House

The Country Bookshop brings bestselling writer Frances Mayes, author of Under the Tuscan Sun, to the stage of the Sunrise Theater at 6 p.m. on Tuesday, Aug. 20, to discuss her latest novel, A Great Marriage. Then, on Thursday, Aug. 22, at 7 p.m., the bookshop, at 140 N.W. Broad St., Southern Pines, will host Wall Street Journal reporter Valerie Bauerlein, who will discuss her much anticipated book, The Devil at his Elbow: Alex Murdaugh and Fall of a Southern Dynasty. For information and tickets to both events go to www.ticketmesandhills.com.

Dissecting a Cocktail

Dissecting a Cocktail

Chartreuse Swizzle

Story and Photograph by Tony Cross

In 2003, San Francisco bartender Marcovaldo Dionysos entered his city’s cocktail competition for the fifth year in a row, pining for top honors. The contest was sponsored by the French herbal liqueur Green Chartreuse. According to cocktail historian Robert Simonson, Dionysos considered sitting out the year’s competition. “I didn’t have any great ideas,” Dionysos remembers. “I decided to make something fun and went in a tropical direction.” His idea nabbed first place that year and has since popped up in cocktail bars across the country and the world, becoming a modern classic.

Dionysos’ cocktail, the “Chartreuse Swizzle,” combined the herbal liqueur with pineapple and lime juices, Velvet Falernum (a low-ABV rum liqueur made with almonds, cloves and lime) and mint. Commonly made with rum, “swizzles” can be potent. They’re usually mixed with fruit juices and a sweetener, built and mixed in the drinking glass with a swizzle stick. Originally, these pronged sticks came from trees native to Bermuda, but the garden-variety lookalikes are made of metal, plastic or wood. One of my first introductions to Green Chartreuse was Dionysos’ Swizzle. For such a high proof (and pricy) spirit, it’s a little shocking how popular it became. What’s not surprising is how the four ingredients complement each other for a perfect tiki-themed sipper.

Specifications

1 1/2 ounces Green Chartreuse

1 ounce fresh pineapple juice

3/4 ounce fresh lime juice

1/2 ounce Velvet Falernum

Garnish: mint sprigs

Execution

Combine all ingredients into a Collins glass and add pebble (or crushed) ice. Insert a swizzle stick or barspoon into the mixture, rubbing your hands together to “swizzle” the stick until frost appears outside the glass. Add more ice and garnish with mint.  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.

Simple Life

Simple Life

The Quiet of Nature

In an increasingly loud world, maybe we should be still and listen to nature

By Jim Dodson

It’s two hours before sunrise and, per my daily morning ritual, I’m sitting with my old cat, Boo Radley, in a wooden chair beneath the stars and a shining quarter-moon.

Today’s forecast calls for another summer scorcher.

For the moment, however, the world around me is cool and amazingly quiet.

It’s the perfect moment to think, pray or simply listen to nature waking up.

In an hour or so, the world will begin to stir as folks rise and go about their daily lives. Nature will be drowned out by the white noise of commuter traffic, tooting horns and sirens.

But, for now, all I hear is the peaceful hoot of an owl somewhere off in the neighborhood trees, the fading chirr of crickets and the lonely bark of a dog a mile or two away. Amazing how sound carries in such a peaceful, quiet world. 

Ah, there it is, right on cue! The first birdsong of the new day. I recognize the tune from a certain gray catbird that seems to enjoy starting the morning chorus. Soon, the trees around us will be alive with the morning melodies of Carolina warblers, eastern bluebirds and the northern cardinals. What a perfect way to lift a summer night’s curtain and herald the dawn!

Unfortunately, it’s a sound that Earth scientists fear may be vanishing before our very ears.

On a planet where many are concerned about the impacts of global warming, declining natural resources and vanishing species, it seems to me that noise pollution and the disappearing sounds of the natural world might be among the most worrying impacts of all. 

A recent article in The Guardian alarmingly warns of a “deathly silence” they claim results from the accelerating loss of natural habitats around the globe.

The authors note that sound has become an important measurement in understanding the health and biodiversity of our planet’s ecosystems. “Our forests, soils and oceans all produce their own acoustic signatures,” they write, noting that the quiet falling across thousands of habitats can be measured using ecoacoustics. They cite “extraordinary losses in the density and variety of species. Disappearing or losing volume along with them are many familiar sounds: the morning calls of birds, rustle of mammals through undergrowth and summer hum of insects.”

A veteran soundscape recordist named Bernie Krause, who has devoted more than 5,000 hours to recording nature from seven continents over the past 55 years, estimates that “70 percent of his archive is from habitats that no longer exist.”

As quiet natural places are drowned out by the sounds of freeways, cellphones and the daily grind of modern life, fortunately, a nonprofit group called Quiet Parks International is working to identify and preserve sacred quiet places in cities, wilderness areas and national parks, where all one hears — for the moment at least — is the beat of nature, the pulse of life in the wild.

“Quiet, I think, holds space for things we can’t verbalize as humans,” the group’s executive director, Matthew Mikkelsen, recently told CBS News. “We use silence as a way to honor things.” Quiet, he notes, is becoming harder and harder to find these days, even in the most remote wilderness or within the depths of the national parks. “Every year we see more and more data to reaffirm what we’ve known for a long time — that quiet is becoming extinct.”

Perhaps because I grew up in a series of sleepy small towns across the lower South, places where I spent most of my days wandering at will in nature, I’ve been groomed to be a seeker of natural silence and quiet places in my life.

The first decade of my journalism career was spent in major cities, embedded in the cacophony of busy streets, which explains why I bolted for the forests and rivers of northern New England the moment I had the chance to escape honking horns, blasting radios, screaming sirens and even background music in restaurants, a personal annoyance I’ve never quite fathomed.

Perhaps I’ve been spoiled by traveling in France and Italy and other ancient places. There, cafes and bistros are generally meant to foster a relaxed, slower pace of life through the auspices of good food, lingering conversations and woolgathering as one watches the harried world pass by.

It is no accident that I built my first house on a hilltop near the coast of Maine, surrounded by 200 pristine wooded acres of beech and hemlock trees. On summer evenings, my young children and I could hear the forest coming alive with sounds and often saw and heard wildlife — whitetail deer, pheasants and hawks, a large lady porcupine and even (once) a young male moose — gathering at the edges of our vast lawn where I created feeding areas of edible native plants for our wild neighbors. On frigid winter nights, I put on my Elmer Fudd jacket and toted 50-pound bags of sorghum out to that feeding spot by the edge of the woods, where deer and other critters could be seen dining in a moonlit night. The eerie late-night sound of coyotes calling deep in the forest reminded us that we were the newcomers to their quiet keep.

One reason I love the game of golf is because golf is a two- or three-hour adventure in nature where the simple elements of wind, rain, sand and water provide an existential challenge to mind and body. As a kid, I learned to play golf alone, walking my father’s golf course in the late afternoon, when most of the older golfers had gone home. I came to love “solo golf” at a time of day when the shadows lengthened and the sounds of nature began to reawaken creatures great and small.

Golf courses, like libraries, are meant to be quiet places — which makes the recent trend of golf carts equipped with digital music systems particularly bothersome to a lover of nature’s quiet sounds.

Pause for a moment and just think what one can do in the quiet:

Read a good book.

Admire a sunset.

Rest and recover.

Take an afternoon nap.

Watch birds feed.

Write a letter.

Talk to the universe.

Say a prayer.

Grieve — or feel gratitude.

Think through a problem.

“In quietness,” says the book A Course in Miracles, “are all things answered.”

My heart aches when I hear that the world’s natural places may be going silent.

A world without nature’s quiet sounds would be a very lonely place.

Hopefully, we’ll learn to listen before it’s too late. PS

Jim Dodson can be reached at jwdauthor@gmail.com.

Art of the State

Art of the State

Gap, 2024 by Frank Campion. 21 x 42 inches, acrylic and rag paper.

Dichotomies & Gaps

Frank Campion’s examinations in paint

By Liza Roberts

Clemmons-based artist Frank Campion brings a cerebral tenacity to his explorations of color and geometry. A series of paintings examining vertical slices of abstracted landscape evolves into another, which juxtaposes rational and random compositional styles, which then gives way to pieces addressing the spaces between those dichotomies. Gap, a recent painting, explores all of that, with the added dimension of a snippet of a view, a depiction of the ways our eyes take in the world before us.

Lately, it’s been hard work. “Sometimes artists have this conceit that everything they touch is going to turn to gold,” he says. “The truth is that it rarely does. So you have to make a lot of messes.” Gap, for instance, is “coming out of the midst of exploring where things might go.” 

Campion says 2024 has been a year of just that, of “mucking about, cutting stuff up and putting it back together again. It’s a fun way to work because you can move stuff around without committing to it. It ends up looking like it’s fall in the studio: There’s leaves everywhere, and I’m just sort of blowing them around.”

He made his Dichotomies series by taping off one side of the canvas and painting the other “until it looked interesting.” Then he’d cover that painted side with newspaper and go to work on the blank one. When it was complete, he’d unveil the full canvas to himself. “There are moments when it’s really kind of interesting,” he says. “I have a vague memory of what the other side was like when I peel the tape and the newspaper off, and sometimes it’s good, and sometimes it’s not.”

Gap represents his current interest in “playing around with the idea of gaps and alleys and fissures, looking for a looser way of working. Instead of having two fields to work with, I’m seeing what happens in between them.” 

To watch Campion paint is to witness intuitive creativity at work. Once, on a studio visit, he pulled a canvas to the floor and stared at it for a moment before tipping a bucket of paint onto its blank expanse. The paint was gray and viscous. It splashed indiscriminately, like muddy water. He studied it for a moment, then tipped the bucket again and again and again, finally picking up a broom-scaled squeegee to push and pull it back and forth. As starry splotches became ghostly shapes beneath a paler scrim, this respected painter looked for all the world like a pensive janitor, mopping the floor.

Left: Zarrab, 2023 by Frank Campion. 42 x 84 inches.

Right: Kebado, 2023 by Frank Campion. 42 x 84 inches.

The result, weeks later, belied those humble beginnings. Sharp geometry, deep blue, soft orange and acid yellow layered the gray-splashed canvas with subtlety and contrast, dimension and structure. Pieces of gray remained, muddying some of the bright shades, swirling in tendrils on the margins. 

“I like color. I like emotion,” Campion says. “I like the collision of chaos and order.” What viewers see in his work includes all of that, but most of all, he says, it’s what they bring to it themselves. “One of the things I like about abstraction is that it’s a kind of mirror. It’s a challenge.”

Campion works in a modernist showpiece of a studio he designed and attached to his house in a residential neighborhood (a contractor likened the space to the spot where Ferris Bueller’s friend Cameron’s father parked his ill-fated Ferrari). It’s a space that challenges him, delightedly so. Miles Davis plays on a continuous loop, art books fill side tables, sunlight pours through a ceiling of skylights; there’s room for giant canvases and places to sit and talk. The floor is a mosaic of speckled paint, and so is he. “He” being “Frank 2.0,” a “re-emerging artist,” as he calls himself (in writing, anyway), the present-day iteration of a Harvard-educated man who came to prominence as a young artist in Boston in the 1980s. Campion had collectors, critically successful solo shows, and was in group shows at the Institute of Contemporary Art and Boston Museum of Fine Arts (where one of his paintings is in the permanent collection). Then he became disillusioned with all of it, walked away from art completely, and immersed himself for more than 30 years in a successful advertising career. 

That’s what brought him to Winston-Salem, a top job at ad firm Long, Haymes & Carr where accounts like IBM, Hanes Hosiery and Wachovia Bank and Trust Co. kept things interesting. “It was a great ride,” he says, “very creative.” After that, painting called him back.

From the beginning, color has been a main attraction. So has tension. Campion says he’s constantly intrigued by “the imposition of geometry, with its logical and rational right angles and parallel lines, pitted against a painterly catastrophe.”

His description of such a catastrophe sounds like the musings of a man in love with his work: “It’s random spills and splats, and drippy, sloppy paint. Thick paint, thin paint, rational form against random painterly incident. When I look at all the things I’ve worked on, that’s a consistent theme.”  PS

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

Omnivorous Reader

Omnivorous Reader

Civil War: Pastand Present

Erik Larson’s The Demon of Unrest

By Stephen E. Smith

Books about the American Civil War sell themselves. Publishers know there’s a loyal audience eager to buy reasonably well-researched volumes about the most tragic event in American history, and that’s enough to keep the bookstore shelves stuffed with warmed-over and newly discovered material. But how does a Civil War historian appeal to a broader audience? Simple: link the events explicated in his book to the present or, even better, to the future.

Erik Larson’s The Demon of Unrest: A Saga of Hubris, Heartbreak, and Heroism at the Dawn of the Civil War purports to do just that. Larson states in his introduction: “I was well into my research on the saga of Fort Sumter and the advent of the American Civil War when the events of January 6, 2021, took place. As I watched the Capitol assault unfold on camera, I had the eerie feeling that present and past had merged. It is unsettling that in 1861 two of the greatest moments of national dread centered on the certification of the Electoral College vote and the presidential inauguration. . . I suspect your sense of dread will be all the more pronounced in light of today’s political discord, which, incredibly, has led some benighted Americans to whisper once again of secession and civil war.”

The major news networks have been quick to focus on the book’s possible implications, and Larson has appeared on cable news, NPR, and at bookstores and lecture venues across the country to address the possible parallels between the people, places and events of the spring of 1861 and those of the upcoming presidential election.

Which begs two questions. First, is The Demon of Unrest a well-written, thoroughly researched history deserving of the intense scrutiny it is receiving? And second, does the history of the fall of Fort Sumter offer readers insights into the cultural and political divisions in which Americans now find themselves?

The answer to the first question is a resounding yes. Larson is a conscientious researcher, and everything he presents “comes from some form of historical document; likewise, any reference to a gesture, smile, or other physical action comes from an account by one who made it or witnessed it.” He has analyzed a myriad of primary and secondary sources and produced a narrative that proceeds logically from chapter to chapter, illustrating how a false sense of honor and faulty decision-making on both sides of the conflict facilitated the terrible suffering that would be occasioned by the war.

Larson accomplishes this by drawing on the papers and records of the usual suspects — Mary Chesnut, Maj. Robert Anderson (Fort Sumter’s commander), Lincoln, Edmund Ruffin, Abner Doubleday, James Buchanan, Gideon Welles, William Seward, etc. — but he also delves more deeply than earlier historians into more obscure sources, all of which are noted in his extensive bibliography. Much of what he discloses will be revelatory to readers of popular Civil War histories.

The disreputable activities of South Carolina Gov. James Hammond are a startling example. (Hammond is credited with having uttered the oft-repeated “You dare not make war on cotton — no power on earth dares make war upon it. Cotton is king.”) In May 1857, Hammond, an active player in the Fort Sumter narrative, was being considered to fill a vacant seat in the U.S. Senate, even though he was a confessed child predator who molested his four nieces. Hammond wrote in his diary: “Here were four lovely creatures, from the tender but precious girl of 13 to the mature but fresh and blooming woman nearly 19, each contending for my love . . . and permitting my hands to stray unchecked over every part of them and to rest without the slightest shrinking from it.” Hammond not only recorded his misdeeds, he disclosed his indiscretions to friends and suffered no negative political consequences when his pedophilia became public knowledge.

Larson reminds readers that Lincoln’s election also occasioned a demonstration at the Capitol. The crowd might have turned violent, but Gen. Winfield Scott was prepared: “Soldiers manned the entrances and demanded to see passes before letting anyone in. Scott had positioned caches of arms throughout the building. A regiment of troops in plainclothes circulated among the crowd to stop any trouble before it started.”

In a lengthy narrative aside detailing Lincoln’s trip from Springfield to Washington, Larson reveals that the president-elect had to hold a yard sale to pay for his journey to the inaugural and that despite precautions to ensure his safety, an elaborate subterfuge had to be undertaken to sneak Lincoln into the District of Columbia. He was accompanied on the trip by detective Allan Pinkerton, who was determined to foil a supposed plot to assassinate Lincoln before he could be sworn in.

What readers will find most surprising is the degree to which the 19th century concept of “honor” held sway over events surrounding the fall of Sumter. As South Carolina authorities constructed gun emplacements in preparation for a bombardment of the fort, mail service continued with messages to and from Washington passing through Confederate hands without being opened and read. While attempting to starve the fort into surrender, the city of Charleston also attempted to accommodate the garrison with deliveries of beef and vegetables, which Maj. Anderson rejected on the grounds that such resupply was dishonorable.

After months of political finagling, the fort endured an intense 34-hour bombardment before being evacuated. Neither side suffered any dead or wounded; thus, the battle that initiated the bloodiest conflict in American history was bloodless.

The second question — Do the events that followed Fort Sumter’s fall suggest that violent consequences will likewise follow the 2024 presidential election? — is easily answered: No. Cliches such as Santayana’s “Those who forget history are condemned to repeat it” or Twain’s “History doesn’t repeat itself, but it does rhyme” short circuit critical thinking. Nothing is preordained.

Documentary filmmaker Ken Burns, who knows something about the Civil War, recently addressed this question in a commencement speech at Brandeis University. The text of Burns’ address is available online, and readers who believe we’re headed into a second civil war should read what Burns has to say.

The obvious message conveyed by The Demon of Unest is clear: Human beings are foolish, arrogant, and too often given to emotional irrationality that’s self-destructive. There’s nothing new under the sun. Ecclesiastes got that right.  PS

Stephen E. Smith is a retired professor and the author of seven books of poetry and prose. He’s the recipient of the Poetry Northwest Young Poet’s Prize, the Zoe Kincaid Brockman Prize for poetry and four North Carolina Press Awards.

A Visit from the King

A Visit from the King

Arnold Palmer’s sentimental journey

By Bill Case

Feature Image: Stephen Boyd with the King (Photograph courtesy of Stephen Boyd)

There is no denying he was a magnificent player. Arnold Palmer’s glistening record of 62 PGA tour victories, including seven major championship titles, unquestionably ranks him in the highest echelon of golf’s greats. But it would be a stretch to place him at the top of that elite list. Jack Nicklaus, Tiger Woods, Ben Hogan and Sam Snead all outperformed Palmer in terms of winning tournaments. And though there was a period when the Latrobe, Pennsylvania, native was the game’s best player, his dominance was relatively short-lived. Arnold won all seven of his major championships from 1958 to 1964.

But even if he was not the greatest golfer of all time, Palmer achieved unique success in the sport in other ways. From his emergence as a superstar in 1958 until his death in 2016, he reigned as the most beloved figure in the game; a man whose endorsement of a product, be it motor oil or an eponymously named beverage, ensured its success. Palmer’s enduring marketability brought him wealth far beyond that of any player preceding him. According to a Forbes magazine article some years ago, Palmer earned an estimated $875 million in endorsements, appearances, licensing agreements and golf course design fees. And golf prospered with him.

Timing was a factor. The televising of golf was gathering steam just as Palmer arrived. Blessed with loads of charisma, Arnold’s good looks, blue collar background and go-for-broke approach exuded a telegenic presence that appealed to men and women alike.

Arnold Palmer and his father, Deke (middle back row), and friends at The Manor (Photograph courtesy of Tufts Archives)

Thrilling come-from-behind triumphs in two 1960 majors, the Masters and U.S. Open, enhanced his mystique. The “charge” to victory at Cherry Hills Country Club was particularly sensational. Palmer lagged seven strokes back after 54 holes. Prior to the final round, sportswriter-confidant Bob Drum (later a Pinehurst resident) told Arnie he had no chance, that he was “out of it.” Defiantly, an enflamed Palmer drove the green on the opening hole, and with a deluge of early birdies, mounted a historic comeback to capture his only National Open.

Even before this triumph, his ever-expanding legion of adoring followers was mustering to form “Arnie’s Army.” Whether he won or lost, his troops whooped, hollered and cheered Palmer whenever he hitched his pants or tilted his head. And they never stopped.

Doc Giffin, Arnold’s longtime friend and personal assistant, succinctly explained Palmer’s magnetic appeal. “Arnold liked people, and people liked him because they knew he liked them.” His broad smile when photographed with fans was genuine; he never rejected an autograph request, painstakingly signing with a crystal-clear signature. “No shortcuts, no scribbling,” Palmer admonished many a fellow professional. “Look everyone in the eye and take the time to thank them.” This fastidiousness extended to fan mail, which he never threw away. With Doc’s assistance, the appreciative Palmer answered every letter.

Palmer was the King, but no life is without its hardships. In 1997, then 68, Palmer was diagnosed with prostate cancer. On the same day in 1998 that he received a final dose of radiation, he learned that Winnie, his wife of 45 years, had been diagnosed with ovarian cancer. He would call it the worst day of his life. Winnie died in 1999.

By the time Palmer played in the 2004 Masters tournament — his 50th appearance — he grudgingly acknowledged it was time to start saying goodbye. “I’m through. I’ve had it. I’m done, cooked, washed up, finished, whatever you want to say,” he said. “It’s time.” It would be his final appearance in a regular Tour event.

Palmer was not, however, the sort to do nothing. He spent considerable time and treasure in the fight against cancer, funding hospital facilities in Pennsylvania and Orlando, Florida. He thrust himself into his multifarious business ventures with renewed vigor, attending engagements throughout the country. To reach far-flung destinations, Palmer, an accomplished and passionate aviator, piloted his own plane — a Cessna Citation X.

And he still played frequently, almost daily, at Orlando’s Bay Hill Golf Club, rounds featuring good-natured teasing between the King and his playing partners. Most importantly, he found a new love, Californian Kathleen “Kit” Gawthorp. Winnie and Arnold had become friends with Kit and her first husband, Al Gawthorp Jr., when Arnold competed in tournaments at Pebble Beach. Palmer and Gawthorp would later become involved in Pebble’s ownership group. Kit and her husband would subsequently divorce, and following Winnie’s death, Arnold and Kit began seeing one another. The couple announced their engagement on Oct. 16, 2003.

“Kit loves to watch sports, she loves to be at home, and I think that’s really what my dad needs,” observed Arnold’s daughter Amy Saunders. “I think he needed someone who enjoys the things he enjoys, and I think that everybody embraced Kit.”

During Kit’s visit to Latrobe in early May 2004, Arnold suggested they fly south to Pinehurst for an overnight sojourn. Palmer revered Pinehurst and wanted to show it off. Spur-of-the-moment travel was not unusual for them. With co-pilot Pete Luster manning the right seat, Palmer could fly his Citation X to the Moore County Airport in just over an hour.

For arrangements at the Pinehurst end, Arnold turned to his jack-of-all-trades assistant Giffin. The former Pittsburgh Press writer and press secretary of the PGA Tour started working for Palmer in 1966 and would continue to do so until Palmer’s death in 2016. Described in Kingdom magazine (a Palmer enterprise), Doc’s wide-ranging responsibilities included dealing “with everyone: writers, broadcasters, paupers, pretenders, potentates and presidents, including Eisenhower, Clinton and George W. Bush, to name three.” When in Latrobe, the two men typically gathered around 5 p.m. at Palmer’s home for what Giffin puckishly referred to as a “debriefing” — the mutual imbibing of a cocktail or two.

Doc knew the person to call in Pinehurst was Stephen Boyd, the resort’s manager of media relations and special services. Boyd joined the resort’s employ in the mid-1990s, after departing a similar position with American Airlines. Giffin asked him if he could arrange to have Arnold and his fiancée met at the airport, and if he could make hotel and dining reservations for the couple.

“Of course,” replied Boyd. “When are they coming?”

“Tomorrow,” Doc said.

This was no problem for Boyd, who was used to last-minute requests. He asked which hotel the couple would prefer while in town and whether or not they wanted to play golf.

“I’ll let Arnold answer those questions.” Doc said. “He’s right here. I’ll put him on.”

Palmer told Boyd he had no intention of playing golf. “Arnold said he’d like to take Kit on a tour of Pinehurst,” recalls Boyd. “He wanted to share with her the things he had experienced here that meant so much to him.” He wanted to stay in the Manor Inn, a choice that surprised Boyd. At the time, the hotel was rather threadbare, lagging well behind the Carolina Hotel and the Holly Inn in the resort’s lodging offerings.

Arnold Palmer and Harvie Ward (Photograph courtesy of Tufts Archives)

(Photograph courtesy of Stephen Boyd)

Palmer had a sentimental reason for his selection. The Manor was where he, his father, Milfred “Deke” Palmer and his dad’s buddies bunked on their golf vacations in Pinehurst during the 1940s and early ’50s. Those visits became a lifelong source of fond memories for the King.

The first occurred when Palmer was 18, and he was immediately smitten. “I loved Pinehurst. I thought it was the most beautiful place I’d ever seen. It was heaven, really,” said Palmer. Pinehurst’s No. 2 course bowled him over, too. It was “the best golf course I had ever played,” he said. “And this was in December, and it snowed about 6 inches. We had to go home because it was snowing so heavily.”

When Bud Worsham, Arnold’s close friend from junior golf, urged his buddy to consider joining him on Wake Forest University’s golf team, the young Palmer was all ears. Worsham persuaded Wake’s athletic director to grant Palmer a full scholarship, employing the clinching argument “Arnold’s better than me!” The two would transform Wake’s golf team into a national powerhouse, with Palmer carrying off two NCAA individual titles.

With Pinehurst little more than an hour’s drive away, team excursions to play No. 2 were frequent. Arnold won his conference’s individual championship on the storied Donald Ross layout, though he was less fortunate in the annual North and South Amateur, where his best finish was a 5 and 4 semifinal loss to a UNC star named Harvie Ward.

When Worsham was killed in a car accident in October 1950, the devastated Palmer dropped out of school and joined the Coast Guard. Following a three-year stint, he returned to Wake Forest for an additional year. After leaving college for good, Palmer won the 1954 U.S. Amateur, turned pro later that year, and joined the PGA Tour.

The tour did not hold events in Pinehurst during the first 17 years of Palmer’s professional career but, when it returned to the resort in 1973, Palmer was invariably in the field. And, in September 1974, he was inducted into the new World Golf Hall of Fame in a ceremony behind No. 2’s fourth green.

Thirty years later, Palmer and his fiancée weren’t coming to Pinehurst for a ceremony — they just wanted to experience the town’s unique atmosphere. Boyd selected a suitable room at the Manor and ordered it stocked with Ketel One vodka and Rolling Rock beer, both Palmer’s favorites.

The next day Arnold, Kit and co-pilot Luster took off for the Moore County Airport. Kit relished flying with Arnold in the Citation X, even toying with the idea of obtaining a pilot’s license herself. She recalled a moment during one of their early flights together when Palmer pointed out the curvature of the Earth. “That was so neat,” Kit said. “The sun was setting, and it created a mystical picture.”

Boyd already enjoyed a favorable impression of the man. In 1994, while at American Airlines, Boyd was invited by Pinehurst CEO Pat Corso to attend a match between Palmer and Jack Nicklaus on course No. 2 for Shell’s Wonderful World of Golf. On the evening prior to the match, Boyd attended a reception where he marveled at how Palmer painstakingly greeted and chatted with each guest as if there was nothing he would rather do and no place he would rather be.

After Palmer’s Cessna touched down at Moore County Airport around 1 p.m., as they exited the plane, he asked Kit to take a picture of him posing with Boyd. Giffin had arranged for Palmer to have a Cadillac available (another Palmer endorsement) on the airport tarmac. “My car was in the airport parking lot,” says Boyd. “I told Arnold what I was driving, and that he should just follow me into Pinehurst.” But Palmer had other ideas. “Stephen, you get in with us and sit up with me. You can show us around,” directed the King. 

As the luggage came off the plane, Boyd saw a set of golf clubs. “Mr. Palmer,” he said, “I thought you weren’t going to be playing golf on this trip.”

“I’m not,” replied Palmer with a broad smile, “but you don’t come to Pinehurst without your clubs.”

After first checking on the precarious state of the Carolina Golf Club, located near the airport, a course he had designed with associate Ed Seay in 1997, Palmer turned the Cadillac in the direction of Pinehurst and asked Boyd to provide an impromptu tour for Kit’s benefit. “I talked about the Tufts family, Frederick Law Olmsted, and the history of the village,” says Boyd. “I pointed out homes belonging to Annie Oakley, the Fownes family, Admiral Zumwalt, and others — just a quick historic overview.”

Palmer pulled up to the front door of the Manor by 2 p.m. He asked Boyd for a recommendation on a place to have a glass of wine. Stephen suggested the Pine Crest Inn, just a 200-yard walk from the Manor. “Of course,” responded the pleased Palmer, remembering the establishment. “That’ll be perfect.”

It was early in the afternoon, and the Pine Crest was empty of patrons except for Arnold and Kit, who sat at the bar. Andy Hofmann, wife of proprietor Bob Barrett, remembers their visit. The three chatted for a bit before Andy asked how Ed Seay was doing, knowing he was having health issues. Seay, Arnold’s course architecture partner, had stayed at the Pine Crest while designing Pinehurst Plantation, now Mid-South Country Club. The beefy former Marine had become a popular presence. Rather than answering Hofmann directly, Arnold looked to Kit to respond. “She shook her head,” says Andy. “I already knew Ed had cancer.”

Palmer took note of three stools at the bar displaying name tags of three renowned golf writers who had been entrenched regulars at the Pine Crest: Bob Drum, Dick Taylor and Charley Price. Palmer picked up his cellphone and called Giffin to inform him he was at the Pine Crest bar, sitting with Drum, Price and Taylor. “Doc knows those guys are long gone, and he thought I’d lost my mind,” Palmer told Boyd.

It was a beautiful spring day, and Boyd had arranged for the couple to have dinner around 5:30 p.m. on the outdoor patio at the Holly Inn. The Holly didn’t accept dining reservations on the patio — not even for a king — so Boyd stood in line for a table.

“I was watching for Arnold and Kit, who I assumed would walk up the hill from the Manor,” says Boyd. He caught sight of them right at 5:30, holding hands, as they rounded the corner of Cherokee Road with Palmer sporting his customary look — loafers without socks and a cashmere sweater, loosely tied around his neck.

Once the couple was seated, Boyd told them to have a wonderful evening and began stepping away. “Sit down!” Palmer ordered. “Have dinner with us.” Boyd stayed, but only for a drink.

Corso and his wife, Judy, happened to be dining on the patio that night as well. “What was remarkable is that everyone knew it was him, but no one chose to disturb them,” says Corso. Following dinner the couple continued their sightseeing. Among the stops was Taylortown, home of the resort’s African American caddies, several of whom — including the legendary Willie McRae — had carried Palmer’s bag over the decades.

Boyd joined them for breakfast the following morning at the Carolina Hotel, and afterward, the three sauntered slowly down the halls off the hotel lobby. Palmer inspected the historic photographs hanging on the walls as if they were treasured Rembrandts. Near the Cardinal Ballroom, one photo in particular caught his attention. “Come here, Kit,” he said. “That’s the guy.” He pointed to a picture of Arthur Lacey, the official involved in the most controversial rules dispute of Palmer’s career. 

Lacey had been the captain for the Great Britain and Ireland side in the 1951 Ryder Cup at Pinehurst and became a resident of the village after marrying a local woman he met during the matches. In the 1958 Masters, he was the rules official at the 12th green when Palmer’s ball became partially imbedded. Lacey denied Palmer relief. Annoyed, Palmer made a double bogey with that ball but also played a second ball with which he made a par. Tournament chairman Bobby Jones overruled Lacey, concluding that the score on Arnold’s second ball was the one that should count. Jones’ ruling proved crucial to Palmer winning his first Masters. Nevertheless, debate swirled for decades.

On the patio of the Holly the evening before, Boyd had mentioned to Palmer that his old friend Harvie Ward was a Pinehurst resident. Not only had Ward been a golfing rival, he’d dated Winnie before she and Arnold married in 1955. Boyd passed along Ward’s contact information and Palmer did, indeed, reach out, visiting Ward at his home on Blue Road. It would be their final meeting. Ward died four months later.

After he and Kit left Pinehurst, Palmer sent a message to Boyd, telling him their visit “brought back a lot of old memories for me and reminded me how much Pinehurst has always meant to the Palmer family.”

Three months later, at the U.S. Senior Open at Bellerive Country Club in St. Louis, Boyd was assisting in the media center. The USGA assigned him to accompany Palmer’s group, keeping photographers at a proper distance and otherwise making sure that the King could get from point A to point B without too much difficulty.

It was uncomfortably warm in St. Louis, and the 74-year-old-Palmer and his aching back felt the heat’s effects. At one point, he began veering off to the right of center. Boyd asked him if he was OK. Palmer assured him everything was fine. He’d spotted an old friend in the gallery and wanted to say hello. That old friend was baseball great Stan Musial.

Palmer’s trips to Pinehurst weren’t at an end after 2004, and every time he visited, Boyd was his man on the ground. On one trip, at Boyd’s request, Palmer recorded a video expressing his heartfelt feelings about the No. 2 course. When the King returned to Pinehurst in June 2007, for his induction into the North Carolina Golf Hall of Fame, Boyd’s connection with him deepened further. Palmer’s thank-you message was profuse in its praise. “Thanks for all you did from touchdown to takeoff for Doc, Pete (co-pilot Lustek), and me,” he wrote.

“Arnold went out of his way to make me his friend, not just someone who met him at the airport,” says Boyd. “For that I will always be grateful.”

Before passing away in 2016, Palmer made one final pilgrimage to Pinehurst during the 2014 U.S. Open. Reiterating his affection for the town and No. 2, he vowed, “I’m going to come back and play it again before I give up the game.”

The King would have if he could have.  PS

Pinehurst resident Bill Case is PineStraw’s history man. He can be reached at Bill.Case@thompsonhine.com.

Ice Cream & Company

Ice Cream & Company

Scooping out the world of frozen treats

Story and Photographs by Rose Shewey

Ice cream is by far the most enticing frozen dessert on hot summer days — no argument here. But Southern summers are long, and even the most lickable scoop can taste flat after months of indulgence. Why not shake things up a little and expand your freezable repertoire? For a simple icy cold treat, try granita — even the fanciest kind requires little more than a flavorful liquid and a freezer. Or dive into the world of sorbets — add a scoop of berry sorbet to your Prosecco and call it a float. For the youngest (and young at heart), coconut water turned into popsicles will not only cool you down but replenish and nourish your body. Get the scoop on how to add variety to your frozen dessert spread. Brain freeze guaranteed!

Apricot Honey Gelato

If you thought gelato was just a ritzy name for ice cream, you would be (mostly) wrong. While gelato literally means “ice cream” in Italian, American ice cream and gelato aren’t made the same way, and as a result, differ in texture and density. To make a no-churn gelato at home, prepare a custard, chill, and fold in whipped cream. Freeze for about one hour and stir; repeat this twice more before allowing the gelato to fully freeze. For a seasonal fruit take, mix in fresh apricot compote and drizzle with honey.

Strawberry Sorbet with Pink Pepper

If you’re new to making sorbet — which, in essence, is pureed fruit and sugar — start with strawberries. With lots of pectin acting like a thickener, strawberries will make an exceptionally creamy sorbet, reminiscent of regular ice cream. For an out-of-the-ordinary twist, fold in pink pepper, which adds a spicy, citrusy note. To make an instant, no-churn sorbet, try this: Add 4 cups of frozen fruit with 1/4 cup honey and a dash of lemon juice to a food processor (not a blender) and mix until creamy.

Cold Brew Frozen Yogurt
with Cacao Nibs

Cold brew coffee, yogurt and hazelnuts, sweetened with honey and a sprinkling of chocolate, is practically breakfast — and a healthy one, at that. Take your favorite frozen yogurt recipe (no-churn recipes are a good option if you don’t have an ice cream maker) and add a dash of cold brew coffee. Sweeten with honey instead of granulated sugar, and fold in dark chocolate chips or cacao nibs for a little crunch. It’s a fine way to start your day or a welcome pick-me-up in the afternoon. 

Coconut Water Popsicles

Get your dose of electrolytes on hot, sweaty summer days with coconut water popsicles. Add fresh or frozen fruit, such as pineapple, berries or kiwi; mix with a dash of fruit juice (lemon juice works well) for more flavor; add edible flowers for a whimsical touch. Coconut water is an excellent substitute for sports drinks, minus the added sugars and synthetic ingredients, and will keep you hydrated all summer long. These pops are even kid-approved — mix in a little honey if your babes have a sweet tooth.

Pink Grapefruit Aperol Granita

Granita is likely one of the most under-appreciated frozen treats outside of Sicily. This glittering, icy snow doesn’t require any special equipment — all you need is a shallow tray, a fork and a freezer. For a Grapefruit Aperol Granita, heat 1 cup of water with the zest of a grapefruit and about 1/2 cup sugar until the sugar dissolves. Chill, mix in 5 cups grapefruit juice and 1/2 cup Aperol, and freeze in a tray for about 1-2 hours, then start scraping with a fork from the edges to the center. Repeat every 30 minutes until the mixture has turned into sequined ice flakes.  PS

German native Rose Shewey is a food stylist and food photographer. To see more of her work visit her website, suessholz.com.

Flowers of Freedom

Flowers of Freedom

The patriotism of petals

By Emilee Phillips
Photographs by John Gessner

A rose is a rose is a rose.
And a flag is more than dyed fabric.
Together they can evoke emotions filled with
symbolism, lifting and carrying their
message with it.

“I wanted to show the strength of an American flag but in a softer, more feminine way,” says Katie Tischler, a military spouse with a love of the outdoors who creates botanical art she dubs “Blossoms of Patriotism.”

The idea wasn’t born overnight. An old scrapbook filled with papers, photos and a single rose cemented itself in Tischler’s childhood memories. Puzzled at first by their commonplace nature, it took her a moment to realize it was a flower her dad had given her mom, kept as a memento of love. “It was brown by the time I saw it,” says Tischler, “but it was sweet when I saw it as a young girl, to see that they kept that.”

Now a card-carrying, certifiable, sentimental romantic, Tischler’s trade elevates pressed flowers to an art form. Her business, Pine Pressed Flowers, preserves flowers from any occasion. She began the business in 2019 preserving bouquets from weddings, funerals or any milestone with deep, personal meaning. Some of her work is simply for aesthetic purposes, but roughly 90 percent of her business consists of custom orders arising from these watershed events.

“Life is short, and there are only so many big days,” says Tischler. Her philosophy: If you want to preserve a memory, just do it.

The process is simple. You pick your frame size and floral layout, be it bouquet style, deconstructed or abstract, then in a few months, voilà, you’ll be met with a work of art. “I love the less literal, more organic look,” says Tischler.

The craft of pressing flowers demands four to six weeks of careful handling and rotating. In a world of instant gratification, the slow, precise technique adds to its charm.

Tischler’s floral flags take months to construct, between scavenging for the perfect assortment of flowers, pressing them and delicately arranging them. Each part of the flag, like a flower, serves its purpose. Each has its meaning. Tischler is mindful in her construction and searches for flowers that are local, typically trying to add dogwoods — the North Carolina state flower — to her flags.

Start to finish, flowers undergo subtle color transformations in the pressing process, rendering the creation of her floral flags particularly challenging. Tischler doesn’t use dyes to achieve her red, white and blue hues. To date she’s made five flags, the first of which was donated for a charity gala for the nonprofit Shields & Stripes.

“Each of the flags are all so different, if you look closely,” Tischler says. Staring at one is like staring at a mesmerizing kaleidoscope and spotting something new each time you come back to it.

A typical week begins with the more mundane routines of processing flowers, documenting, collecting and labeling. But, later in the week, her creative headspace kicks in. Tischler doesn’t do layouts prior to constructing. She adopts the organized chaos of nature and just begins gluing. “I feel more free without a roadmap,” she says.

The routine in her home studio begins with a hot cup of herbal tea and noise-canceling headphones. The workspace is filled with hundreds of handmade wooden flower presses. “My husband cut wood for weeks,” she says with a laugh. The walls are adorned with glass panes of clients’ memories filled with every type of flower imaginable. Each flower takes time to deconstruct, keeping in mind it will need to be reassembled later on.

Tiny, delicate frames adorn one of the walls of the sunroom, each cradling a single pressed flower from a distant land. “Every time my husband deploys he brings me back a flower,” Tischler says, smiling. One of those “contraband” flowers found its place between the pages of a medical book that he had tucked away beneath his mattress until he returned. “He claims not to be sentimental,” she says. But the flowers say otherwise.

Thrifted books have become a favorite way for Tischler to press flowers, especially for personal projects, as the sturdy old pages drink in the essence of the blooms with their superior absorbency.

Each piece she makes includes a certificate of authenticity and a “best practices” guide for preservation — it’d be a shame for your art to brown from overexposure to direct sunlight. On the back of the guide is an Aristotle quote she includes with every keepsake: “The aim of art is to represent not the outward appearance of things, but their inward significance.”

Included with each floral flag’s certificate of authenticity is a detailed list of all the flowers the frame holds. “I think it’s important to show your patriotism,” Tischler says. “I wanted to do it in a way that was my own.  PS

Emilee Phillips is PineStraw’s director of social media and digital content.