charleston the manual

Charleston the Manual

Premier IssueCharleston digital

21st Century CharlestonSouth Carolina 2012

At 10:27 am Pacific Time (18:27 GMT), on the 15th December 2009 the first Boeing 787 Dreamliner™ eased effortlessly into the skies powered by two Rolls-Royce Trent 1000 engines. This marks the debut of the quietest, cleanest and most fuel efficient airframe and engine partnership flying today.

Click here to turn page

Baker Motor CoMpany 1511 Savannah Highway, Charleston, SC 29414 | (843) 852-4000

photo by Brownie Harris

Charleston digital is an online magazine covering the great beauty and cultural diversity of Charleston, South Carolina. Occasionally Charleston digital will take you to the mountains or a southern mesa in Colorado to an orchard dinner with a former native. Within each issue, 21st Century Charleston’s reflection and character will come alive through modern technology and give readers a sense of time and place in contemporary Charleston. Charleston is the Jewel of the South. Always a beautiful sea town and a place that draws not only touring visitors, but a constant flow of wonderful people who make up its fabric of life. Some of Charleston’s natives have been here a few days and some of its lovely families have been here for centuries.

Charlestondigital

photo by Steven Hyatt

Brownie Harris

Premier Issue

Charleston digital Contents

e

Alfred Heber Hutty - The Charleston Etchingsby Julian V. Brandt, III

Boeing South Carolina Futureville

The Lovely Road to Wellness - the Spas of Charleston

Sutcliffe Vineyards and Brix Restaurant Harvest Dinnerby John Sutcliffe e photos by Heather Greene

Hydrogen 2 Parts Oxygen - Boarding in the Lowcountry with Gretta Kruesi and Tommy Bakerphotos by Eric Bradshaw and Bette Walker

Jake Moss - Making Green Priorities by Liz Clark

Bill McCullough - Artist by John Wilson

It’s the 7th Inning and We Are Down by 1 Run - A little wisdom from Ted Turnerby Adam Bernholz e photos by Andy Anderson

Shakers & Movers - the 21st Century:Mike Seekings - the 1st MBA class of the College of Charleston - Haley Dreis - Tommy Baker - Mark Bryan - Mike Lata -

Ham Morrison - Go Go Ferguson - Bin152 - Tara Guerardphotos by Brownie Harris and Bette Walker

Sambo Mockbee - Citizen Architect by Neil Stevenson

The Lodge at Cabin Bluff

www.flylinewine.com www.BrigadoonLodge.com

www.gardenandgun.com/article/casting-spellwww.BrigadoonLodge.com

“Come quickly. Have found heaven.”Alfred Hutty arrived in Charleston in 1919

and cabled his wife in New York

a l f r e d H e B e r

HUTTYThe Charleston Etchings

by Julian V. Brandt III

One afternoon in 1919 Selma Tharin, later Selma Tharin Dotterer, then a young aspiring artist, sat at the Gibbes Art Gallery rendering a classical plaster figure in charcoal. Selma was taking private instruction from Mrs. LaBruce, concentrating on drawing so that she might qualify for an art class to be given at the Gibbes at the beginning of the new year by the talented artist, Alfred Hutty.

“At that moment, in walked Alfred Hutty,” Mrs. Dotterer recalled. Hutty, then 42, cut a striking figure. Tall and lean, with a mustache and a shock of wavy hair, he was a man easily recognized wherever he went. “He asked if I enjoyed drawing. I said that I did. ‘Why are you holding your charcoal that way?’ he asked. And then, taking it from my hand, he said, ‘Here, like this,’ and began to draw on my sketch. Genius sprang from the paper. Despite that genius, Alfred Hutty was a very gentle, modest person. He took no credit for his talent. He would say it was a

Jenkins Band (No. 2) 1933 10 1/2 x 9 3/4 inches

Potato Pickers in the Low Country 1935 10 x 8 5/8 inches

Flower Vendors at Charleston Market undated 14 1/4 x 15 3/4 inches

gift from a source greater than himself. When it came to his own work, Alfred was a perfectionist.”“When it came to his students, he was enthusiastic - especially when he met someone in whom he

recognized talent. He loved helping his students. One of the great things he did for me was to make me not only see but also perceive what I was drawing. He was a very generous man, with a sense of humor, and he liked people.” From that first encounter at the Gibbes, the two became lifelong friends.

Alfred Hutty was born September 16, 1877 in Grand Haven Michigan. He began his artist’s career in 1892

Flower Vendors at Charleston Market undated 14 1/4 x 15 3/4 inches

when he won a scholarship to the St. Louis School of Fine Arts. Ten years later, after working in a Kansas City stained glass studio, he married Bess Crafton and moved to New York to work at the Tiffany Glass Studios and study art at the New York Art Students League. He and Bess bought a farm, Broadview, in Woodstock. Then, after World War I, Hutty accepted a teaching position at the Gibbes Art Gallery in Charleston.

Although Hutty’s reputation as an artist in many mediums was well-established by the time he moved to Charleston, his etching career began late in his life, here in this city.

According to Anna Onufer, contemporary Charleston artist and former Hutty estate representative, “The term ‘etching’ is sometimes used as a generic word for the process of individual printmaking. A true etching is done with acid. The preferred method of the Charleston etchers of the period was a process called dry point in which the artist did a reverse tracing of the sketch on a zinc or copper plate, then, using a metal stylus or nib to cut out the lines, created dark and light lines to give texture and patterns to the work.”

Ms. Onufer first encountered Hutty’s work in the late 1970s while earning an art degree at the College of Charleston and pursuing a course in print making at the University of London. After studying his work for years, she observes that “he was probably the best

draftsman of that era. His work was successful not only because it showed his passion for life but also because he knew instinctively which medium should be used to capture an image - whether oil, water color, pencil, charcoal or etching. Hutty had a great command of etching technique; one can see that he was very thorough and demanding of himself; he inked his own plates and hand pressed an edition of 25 to 75 prints from each etching.” When asked why people collect Hutty’s work, Ms. Onufer replied, “He captured Charleston at a very important time in its cultural history. One can tell he had a great love for the city and for her people. If you look at his black subjects, you can feel his compassion, particularly in his renderings of black women. He captured them as the people they

really were, bringing to life their strengths as well as the small things that brought them joy.” Mrs. Dotterer concurs: “Alfred loved people. Most of he loved Charleston, her antiquity and uniqueness.” According to his granddaughter, Patience H. Kotorman: “ Hutty adopted the snail as his etching signature because he thought it was a slow process, started late in life.”

The only nude study done by Hutty was a very delegate line drawing of a girl 16-17 titled ‘Youth’. Ms. Onufer recalled that “one day in the mid 1980s, a woman in her 60s from off came in to the gallery to see the Hutty etchings. She picked up ‘Youth’, turned a little pink, blushed and said, that was me, I used to pose for Mr. Hutty when I was a girl. “

In his book, Alfred Hutty and the Charleston

Renaissance, Boyd Saunders writes that Hutty’s first etching was “In Bedon’s Alley”, published in 1921, followed by “The Portico of St. Michaels,” which won an award. However, an inspection of Hutty’s private estate revealed that the original pencil drawing of “The Portico of St. Michaels” is dated 1920 and is placed as number 1 in the private estate with a note on the etching by his wife labeling it “Alfred Hutty’s first ever etching”. By 1922, Hutty’s etchings were on exhibit at the Corcoran Art Gallery in Washington, D.C.

Hutty’s passions were art and Charleston. His contribution to Charleston and the Renaissance was invaluable, both in the visual and in the performing arts. A visual arts group that benefited most from his influence was the Charleston Etchers Club (1923-1933), among whose original members were Alice Ravenel Huger Smith, John Bennett, Selma Tharin Dotterer, Robert Whitelaw and Elizabeth O’Neill Verner. The etchings of these artist and others he influenced have become the gold standard of the Charleston Renaissance.

Mrs. Dotterer recalled, “The formation of the club was the beginning of many efforts in Charleston. I liked doing dry point because it was a direct expression of the artist on the zinc or copper plate.” Selma’s first etching was a ballerina putting on her slippers to dance on zinc plate. Torn between drawing and dance, Selma went on to New York in the mid 20s where she danced with the Zigfield Follies and appeared in “Show Girl” with music by George Gershwin. On her return to Charleston she said “I was able to find here what I could find no where else.” Later she became Society Editor of the Evening Post working on occasion with Josephine Pinckney and Iola Willis. Hutty served for many years as a board member, and as president of the Footlight

Players from 1941-42. Hutty’s contributions to the Charleston theater is still evident in the large mural extracted by Emmett Robinson and Alfred Hutty, which still hangs in the workshop at 20 Queen Street.

Emmett Robinson, the long-time director and his wife, Patricia, were two of Hutty’s closest friends.

Stairway 46 Tradd Street 1941 16 1/4 x 13 inches

Just after Hutty’s death on June 27, 1954, Emmett Robinson summarized the artist’s theatrical contribution in “Footnotes,” the Footlight Players Newsletter. “One afternoon last spring, when we were painting the Charleston set, “Hiddydoddy,” Alfred Hutty stopped by the theater at the perfect moment. We were stumped on the question of painting old bricks - how much red, where the cement should show through, which color should be used as a highlight. Alfred rolled up his sleeves, gathered a few buckets of paint and some brushes and, in less than an hour, recreated an old wall, mellowed, weathered, rich with sunlight. We thought, at the time, of the countless sets to which he had given that magical finishing touch. It was the last of many such afternoons, stretching back across the years. Alfred fervently believed in community theater and in the theatrical tradition the Footlight Players hoped to establish in Charleston. That belief is still very real today. We, perhaps, are more conscious of it now than ever before and also of our responsibility to the town and to the memory of a very great gentleman.”Adela Stoney and her late husband Randall concurred in considering Hutty a true gentleman. The Stoneys and the Huttys were neighbors on Tradd Street in the 1940s. “Because the Hutty’s was the larger of the two family houses and the we needed more space, Randall asked

Alfred if we might buy his house should he decide to sell. He said he would let us know, and he did. Our arrangement was that he and Bess could then stay in the studio as long as they were able.” Mrs. Stoney recalled, “Mr. Hutty loved to help people and was always doing something.”

Shortly after Hutty died, Bess donated 110 of her husband’s etchings to the Gibbes Museum of Art - the start of the museum’s permanent Hutty collection. Their son, Warren, took the rest of Hutty’s estate to

Woodstock, where it was rediscovered in the ‘70s by Leo Manske, a College of Charleston print-making professor, and his wife, Celia. As a result of Manske’s encouragement, the late Raymond Holsclaw first represented the remaining Hutty works at Carolina Prints. Today, Alfred Hutty’s Charleston is feted in collections across America.

Elizabeth O’Neill Verner, Hutty’s student and the most prolific of the Renaissance etchers continued her art until her death in 1979.

Selma Dotterer, the last of the Charleston Renaissance Ladies left this transitory life in August of 2001 and with her passing the Charleston Renaissance is now

history. [d]

Julian V. Brandt III, is a native Charlestonian, contributing writer for various publications and past president of the Footlight Players. Nov. 2011

Left: Flower Woman undated 6 1⁄2 x 4 3/8 inches. This page: Flower Vendor 1948 5 1/8 x 3 7/8 inches

Left to right, clockwise: Cabbage Row 1928 11 3/8 x 15 1/8 inches; Orange Street 1921 8 3/4 x 7 inches; Monday Morning in Charleston 1922 9 x 11 1/2 inches; Discussion Group in Carolina 1946 13 1/4 x 17 inches; Vegetables 1931 12 3/4 x 14 1/2 inches.

Top left: Hutty’s studio on Tradd Street as he saw it in 1933; Left: The studio today with almost no changes to its beautiful interior. The large northern light window and the skylight and the oversized fireplace all as they were when he was working there. Photos of images by Bette Walker. Above: Studio in the Garden 1954 17 1/2 x 13 1/2 inches

Huguenot Church, Charleston, South Carolina 1925 9 1/8 x 11 5/8 inchesRight: Ashley Hall 1931 15 1/4 x 10 inches

Sword Gate 1935 12 1/4 x 13 7/8 inches

Pounding Rice 1937 12 7/8 x 13 inches

Shrimp Caster undated 10 3/4 x 15 1/8 inches

www.gibbesmuseum.org/

135 Meeting Street, Chareston, SC 29401

Hours: 10am - to 5pm Tuesday - Saturday; 1pm - 5pm Sunday; Closed Mondays and national holidays

Admission: $9 for Adults, $7 for Seniors, Students and Military, $5 Children ages 6 – 12

* Admission is free for members and children under 6

Alfred Hutty Self Portraitpencil7 5/8” x 9 3/4”SC State Museum65

Charleston, South Carolina

Welcomes

787

BoeInG

SoutH CarolIna

futureVIlle

“Now I would say that people want to ride in airplanes more and more each day -- and I

shall go so far as to say they will someday regard airplane travel to be as commonplace and

incidental as train travel... We are trustees of a veritable revolution that is taking place

once more in the economic, social, and political fabric with the advent of this new speed

medium.” -William E. Boeing, 1929

On March 3, 1919, William Boeing (right) and pilot Eddie Hubbard performed the first U.S. international airmail flight in this Boeing Model C, a modified World War I trainer they flew from Vancouver, British Columbia, Canada, to Seattle.

William Edward Boeing

founded one of the great

dynasties of commercial

aviation -- transforming the

Pacific Northwest into a major

aeronautical center. When he

arrived in Seattle in the first

decade of the new century,

however, he was armed with

little more than the optimism of

his generation and the idea that

“it was time to do something.”

In 1939, James Smith

McDonnell founded McDonnell

Aircraft in St. Louis -- and

proceeded to build a series

of the finest jet fighters in

the world, with names like

“Phantom,” “Voodoo,” and

“Banshee.” Perhaps more

than any aerospace leader of

his generation, “Mr. Mac”

imprinted his company with the

force of his character, imbuing

his teammates with his own

drive for excellence.

Donald Wills Douglas,

founder of the Douglas Aircraft

Company, was one of the 20th

century’s greatest figures

in commercial aviation. His

imagination was initially stirred

when -- at the age of sixteen

-- he witnessed the Wright

Brothers’ U.S. Army flight

demonstration at Fort Myer,

Virginia.

Boeing was born in Detroit, Michigan to a wealthy German mining engineer named Wilhelm Böing who had made a fortune developing large low-grade penuckle taconite iron ore deposits and who had a sideline as a timber merchant. Anglicizing his name to “William” after returning from being

educated in Switzerland in 1900 to attend Yale, William Boeing left Yale in 1903 to go into the lumber side of the business. He bought extensive timberlands around Grays Harbor on the Pacific side of the Olympic Peninsula.

While president of Greenwood Timber Company, Boeing, who had experimented with boat design, traveled to Seattle, where, during the Alaska-Yukon-Pacific Exposition in 1909, he saw a manned flying machine for the first time and became fascinated with aircraft.

In 1921 William Boeing married Bertha Marie, the daughter of Howard Cranston Potter, a descendant of merchant bankers Alexander Brown of Baltimore. Bertha Potter Paschall had previously been married to Nathaniel Paschall, a real estate broker and by that marriage had two sons, Nathaniel Paschall Jr. and Cranston Paschall. These two sons became Boeing’s stepsons and the couple had a son of their own, William E. Boeing Jr.

The stepsons went into aviation manufacturing as a career. Nat Paschall was a sales

Portrait by early-mid 20th century painter Joseph Allworthy

William Boeing

Boeing’s Large Cargo Freighters, converted 747s, carry 787

parts around the world.

Boeing was born in Detroit, Michigan to a wealthy German mining engineer named Wilhelm Böing who had made a fortune developing large low-grade penuckle taconite iron ore deposits and who had a sideline as a timber merchant. Anglicizing his name to “William” after returning from being

educated in Switzerland in 1900 to attend Yale, William Boeing left Yale in 1903 to go into the lumber side of the business. He bought extensive timberlands around Grays Harbor on the Pacific side of the Olympic Peninsula.

While president of Greenwood Timber Company, Boeing, who had experimented with boat design, traveled to Seattle, where, during the Alaska-Yukon-Pacific Exposition in 1909, he saw a manned flying machine for the first time and became fascinated with aircraft.

In 1921 William Boeing married Bertha Marie, the daughter of Howard Cranston Potter, a descendant of merchant bankers Alexander Brown of Baltimore. Bertha Potter Paschall had previously been married to Nathaniel Paschall, a real estate broker and by that marriage had two sons, Nathaniel Paschall Jr. and Cranston Paschall. These two sons became Boeing’s stepsons and the couple had a son of their own, William E. Boeing Jr.

The stepsons went into aviation manufacturing as a career. Nat Paschall was a sales

manager for Douglas Aircraft and then McDonnell Douglas. William E. Boeing Jr. became a noted private pilot and industrial real estate developer. In 1916, Boeing went into business with George Westervelt as B&W and founded the Pacific Aero Products Co. When America entered the WW I in April 1917, Boeing changed the name of Pacific Aero Products Co. to Boeing Airplane Company and obtained orders from the US Navy for 50 planes. At the end of the war, Boeing began to concentrate on commercial aircraft, secured contracts to supply airmail service and built a successful airmail operation.

In 1934, the US government accused William Boeing of monopolistic practices. The Air Mail Act ordered him to break up his company into three separate entities: United Aircraft Corporation, Boeing Airplane Company, and United Airlines. Boeing retired from the aircraft industry in 1934. He then spent the remainder of his years in property development and thoroughbred horse breeding. His thoroughbred farm northeast of Seattle was called Aldarra.

William Boeing died on September 28, 1956, at the age of 74, just three days before his 75th birthday. He was pronounced dead on arrival at the Seattle Yacht Club, having had a heart attack aboard his yacht. g

Boeing’s Large Cargo Freighters, converted 747s, carry 787

parts around the world.

The interior designers for the Boeing 787 Dreamliner understand fully that first impressions can be everlasting. Therefore, they’ve designed a larger, more

open entryway with sweeping arches that immediately direct the eye upward.

Responding to the overwhelming desire for a high tech greener airplane Boeing Commercial Airplanes’ new airplane is the Boeing 787 Dreamliner. The Dreamliner is a super-efficient airplane and it is the future of aviation. An international team of top aerospace companies is developing the airplane. The 787 program has signed on 43 of the world’s most capable top-tier supplier partners and together finalized the airplane’s configuration in September 2005. The suppliers are connected virtually at 135 sites around the world. Eleven partners from around the world completed facility construction for a total of 3 million additional square feet to create their major structures and bring the next new airplane to market. Enter Charleston. Aft and midbody sections of the 787 have been produced in South Carolina since 2006, and the new 787 Final Assembly & Delivery facility in North Charleston will be complete and ready for action in July of 2011 to roll out their first airplane in 2012. The 787-8 Dreamliner will carry 210 – 250 passengers on routes of 7,650 to 8,200 nautical miles while the 787-9 Dreamliner will carry 250 – 290 passengers on routes of 8,000 to 8,500 nautical miles. The airplane will use 20 percent less fuel for comparable missions than today’s similarly sized airplane. This means the plane will provide airlines with unmatched fuel efficiency, resulting in exceptional environmental performance. It will also travel at speeds similar to today’s fastest wide bodies, Mach 0.85.

The key to this exceptional performance is a suite of new technologies being developed by Boeing and its international technology development team. A s much as 50 percent of the primary structure – including the fuselage and wing – on the 787 will be made of composite materials. General Electric and Rolls-Royce are making the engines. It is expected that advances in engine technology will contribute as much as eight percent of the increased efficiency of the new airplane, representing a nearly two-generation jump in technology for the middle of the market.

Below: The Boeing Company today revealed the final exterior look of Boeing Commercial Airplanes

newest airplane, the 787 Dreamliner. The airplanes unique shape will be both instantly recognizable

and aerodynamically efficient.

Boeing announced last May that it had chosen South Carolina as the location for fabrication and assembly of airplane interior parts to supply the 787 Dreamliner final assembly and delivery site currently under construction in North Charleston, S.Cv.

The new facility, Boeing Fabrication Interiors South Carolina, will be located near the North Charleston final assembly and delivery site. “By expanding Boeing’s footprint in South Carolina, we enhance our existing foundation with Boeing Charleston and further contribute to the growth

of aerospace in the region,” said Ray Conner, vice president and general manager, Supply Chain Management and Operations, Boeing Commercial Airplanes. hin exceptional environmental performance. It will also travel at speeds similar to today’s fastest wide bodies, Mach 0.85. The key to this exceptional performance is a suite of new technologies being developed by Boeing and its international technology development team. A s much as 50 percent of the primary structure – including the

fuselage and wing – on the 787 will be made of composite materials. General Electric and Rolls-Royce are making the engines. It is expected that advances in engine technology will contribute as much as eight percent of the increased efficiency of the new airplane, representing a nearly two-generation jump in technology for the middle of the market. Boeing announced last May that it had chosen South Carolina as the location for fabrication and assembly of airplane interior parts to supply the 787 Dreamliner final assembly and delivery site currently under construction in North Charleston, S.Cv.

The new facility, Boeing Fabrication Interiors South Carolina, will be located near the North Charleston final assembly and delivery site. “By expanding Boeing’s footprint in South Carolina, we enhance our existing foundation with Boeing Charleston and further contribute to the growth of aerospace in the region,” said Ray Conner, vice president and general manager, Supply Chain Management and Operations, Boeing Commercial Airplanes. [d]

The Lovely Road to WellnessThe Spas of Charleston

“Tension is who you think you should be. Relaxation is who you are.”

– Chinese Proverb

“The greatest wealth is health.”

– Virgil

387 King St, Charleston, SC 29403843.577.2444 spaadagio.com

Seeking IndigoYour doorway to new possibilities.

Seeking IndigoYour doorway to new possibilities.

445 King St, Charleston, SC 29403

843.725.0217

Sutcliffe Vineyards&

Brix RestaurantHarvest Dinner

by

John SutcliffePhotography by

Heather Greene

107 people are seated at one long, beautiful table that runs the length of the orchard. But this exquisite candle-lit moment was two days in the making. One of our hogs is split and dressed, the massa has been molded into tamales around young lamb, trays of charcuterie lie dense and seasoned, the succulent, white flesh of freshly-picked, peaches is being pressed into chutney, black plums are pared open to be grilled on the sizzling pork. Summer squash for the soup, red onions sliced thin and pickled, new potatoes scrubbed not peeled. A table of preserved lemons, figs, candies nuts, shimmering olive oil, plump olives, pickled cucumbers and ripe chevre, might have graced Caesar’s Table. Young Cinsault drawn from the barrel, brilliant and garnet in a plump carboy. The flat bed of an old Dodge vibrant with flowers. A fence line hung with grapes, delicately colored gourds and mile long vines. And still a day away. Monday, the day we have worked towards. A pale sky, a hint of Autumn, brushed lightly with Cirrus that frames

the Sleeping Ute Mountain. Horses, lots of them, hanging on the fence-line to watch our indefinable exertions. The tables have arrived, sparkling linen, chairs, all as white as fresh drawn milk. The chefs glide confidently around, a hog spits on the grill, long baguettes appear in tall brown bags. It’s later. “ Two hours”, I hear myself yell. But it is all moving relentlessly, elegantly forward. The endless table isreplete with delicate bunches of flowers, votive candles, snakes of vines, colorful, sculpted squash. The fleshy pop of corks as the red wines are pulled, Field Blend... the grapes the year gave us, Syrah loaded with chocolate and as dark as night, Cinsault garnet, brilliant, young and bright. Chardonnay lying somnolent in its’ bed of ice. “Need to change.” All is ready, the bower on the Portales hung with dark ripe grapes, peaches, pears, apples and lemons bobbing for a second day in a barrel of Rose’ Sangria. The staff appear, pristine like Novice Nuns, starched and crisp, hair restrained in soft romantic waves. The chefs

immaculate like TV surgeons, handsome and confident. “Welcome, it’s lovely to have you here.” I hear myself saying. People clap, some have attended every dinner we have given. Some are quiet in the still beauty of it all. “Welcome to Sutcliffe Vineyards and Brix Restaurant’s Harvest Dinner”. Suddenly it feels so effortless, so polished.. and it

is. It is because of the thought, imagination and creativity that it has required. The chefs David and Stephen, Paul the owner of Brix, Joe Buckel the wine maker, Jesus Castillo who grows everything we need and Nor who gently ensures this talented disparate forces work as one. It is always worth it, absolutely always worth it. Let the show begin. [d]

Gretta Kruesi is a US Kiteboarding team rider and ambassador for Naish,

a leading brand in kiteboarding, windsurfing and stand-up paddleboarding

industries. She holds the US kiteboarding distance record at 100 miles.

photos by Eric Bradshw ~ Bette Walker

“The sea, the great unifier, is man’s only hope. Now, as never before, the old phrase has a literal meaning: we are all in the same boat.”

Jacques Yves Cousteau

Tommy Baker paddle boarding off of Sullivan’s Island. Gretta Kruesi was Baker’s instructor for the stand up sport. It is a challenging

exercise and puts you in the beautiful seascape of upper Sullivan’s.

Read more in Water Journals at http://charlestonthemanual.com/journals/water.html

Bam

boo

Padd

le

Boar

ds

Decks of bamboo surfboards are up to 4 layers of bamboo/epoxy laminate in hi-stress

areas over a 60 psi medium density foam. Bamboo decks tend to not dent from normal

use unlike glass boards

Pricing is generally in the $125 per foot of length for bamboo. Wood veneer boards are on

the $150 to $200 per foot range.

Gretta Kruesi“Do one thing each day that scares you.

Facing fears, trying new things and pushing

limits beyond what you can already do is the

only way to grow.”

Gretta Kruesi has chosen a path of dreams and it appears that she is going to achieve them. She did a

couple of things in 2010 that gave her an edge to get there. She joined in on the 100 mile kite run from

Charleston to Myrtle Beach. From that she then went to the BVI Kite Jam which was five days of inter-island

events which included flat water freestyle, waves, sliders and racing. Riders from around the globe gathered

and Richard Branson was the key sponsor. His Necker Island was on the course and it appears Branson has

taken to the sport pretty well himself.

Gretta is a prime example of a healthy H2O. Without it she does not have her dreams nor a lifestyle that

goes with it. An avid conservationist she worked at the Coastal Conservation League when she was living

in Charleston. She has taken her latest residence in Los Angeles and ply’s the Pacific when she is not in

Charleston visiting family and friends, kitimng the barrier islands of South Carolina.

On her site she says it best “I’m a big believer in doing the things you are passionate about and the things

that you love. I used to feel like I was spreading myself too thin because I happen to be passionate about a

lot of things. For me its my painting, living a healthy lifestyle, surfing, kiteboarding, and doing service driven

work. I want to leave this world a better place than when I got here. The one unifying thread for me is the

ocean.”

Visit her blog My Ocean Life at: www.grettakruesi.com/Gretta_Kruesi/My_Blog/My_Blog.html

Charleston chapter

Protecting Oceans, Waves and Beaches since 1984

Protecting Oceans, Waves and Beaches since 1984

TheBlind Tiger PuBWe Separate Church and State

Map

Want a fabulous life? Follow these three simple steps. Be born beautiful. Grow up near the beach. Love to kiteboard. That’s all Gretta Kreusi ever had to do, and now she’s travelling around the world making the rest of us jealous. Okay, okay. Of course Kreusi didn’t choose her superior genetic makeup or to be raised in idyllic Charleston, South Carolina. That’s just dumb luck. But kicking-ass at kite boarding, well, that’s something you have to earn. And Kreusi learned the sport just like everyone else: the hard way. Think of kiteboarding (also known as kitesurfing) this way. First, you need to learn to fly a huge kite (which, whether you like it are not, is harnessed to your body). Next, strap your feet into the surfboard. Now it’s

time to strap on your helmet (it’s better not to think too much about why this can come in handy). And finally, double check to make sure you have your safety knife. A safety knife? Yes, a safety knife. Take a moment to think of all the things that can go wrong when you tether your body to large and dangerous sporting equipment that is propelled by both wind and sea. That kite can drag you back on land and suddenly you’re knocking out beachcombers with the speed and force of a linebacker. Or, the wind could stop and the next thing you know you’re sinking, caught out at sea in a spider web of chords. No worries, just use the safety knife to cut yourself free as you desperately try to remember if you’re health insurance is up to date. m - Gervais Street Hagerty

I learned to sail on a little red dinghy. Just three years later, at age ten, I completed a 5,000 mile, six month cruise in Mexico with my family on our sailboat. On that journey, I experienced a different culture, the freedom and beauty of sea travel, and new worlds beyond my hometown reality. I also saw pollution. Trash marred the radical natural beauty of Mexico, and those dramatic images triggered my early environmental awareness. At that young age, two things became very clear: I wanted to protect the world from human destruction and, one day, I wanted to sail around it.

At fifteen, my love of the ocean and my natural athletic inclination led me to try surfing. Soon it was all I wanted to do. Determined to excel at the sport, I spent all my free time in the water. I eventually competed for the University of California, Santa Barbara surf team and also in private contests. My four year competitive career culminated in a win at the National Scholastic Surfing Association Nationals, making me the 2002 College Women’s National Champion. Although I enjoyed pushing my level of surfing through competition, it wasn’t really where my heart was. To me, surfing was less about structured competition and more about adventure, nature, and self-discovery. I was full of bigger questions that needed answers. I began taking

surf trips during summers and school breaks to Barbados, Costa Rica, El Salvador, Guatemala, Hawaii, Mexico, Nicaragua, and while studying in Australia.

As I finished up my degree in Environmental Studies at UCSB, I remember feeling frustrated by the direction the world seemed headed. Our increasing distance from the natural world and failure as a country to seek and promote environmentally sustainable living left me disappointed. I clung to my dream as a way out. My surfing obsession further fueled this fire. The pressures of increasing crowds and urban pollution made the idea of a free life at sea with access to remote waves seem even more appealing. After graduation, I crewed on different boats to gain experience, and then before I was even sure I wanted it, I had the chance to become captain of my own boat. I climbed aboard.

Through this fortunate serendipity, my intense determination, and the generosity and advice of innumerable people, Swell was converted into a sea worthy vessel. I spent two years overhauling and learning about each of my boat’s vital systems. Only having sailed the boat a handful of times during this busy preparation, I honestly didn’t know if I could succeed in this demanding and

Our friend Liz Clark, who is a Patagonia Ambassador will be sending us her ship’s log from the far reaches of the blue planet. She is a wonderful spirit and an

inspiration to us all. We look forward to her adventures.

AboutLiz Clark

taxing leadership role. The unknown terrified me. But what I perceived as my alternative– not going– seemed unthinkable. So in October of 2005, I pointed Swell’s bow south.

As a surfer and environmentalist enchanted by foreign waves and cultures, I left California aboard my 40-foot sailboat in early 2006. The world has since shown me more amazing people, waves, adventures, natural beauty, personal insights, and alternative ways to living than I ever dreamed possible. Swell is my floating home and transportation. I travel at a pace not much faster than you can run. The weather and tides dictate my days. This isn’t just a surf trip, it’s a lifestyle.

I’ve reduced my daily impact on the earth. I live closer to nature. Solar and wind power provide my electricity. I use less, need less, and want less; yet have never felt more fulfilled. At times the work seems endless and the uncertainties too daunting, yet without these challenges, the good times can never be as sweet. That’s the give and take of adventure. When I discover great waves, I keep the location secret. That way, only the truly inspired adventurers can still find places without surf camps or crowds and experience the sensation of venturing into the unknown and be rewarded. For me, that feeling is as precious as empty

waves.

The voyage evolves as I continue to learn. I spent the first year and a half gaining confidence as a captain, with different friends as crew, while traveling down the western coast of Mexico and Central America. After announcing that I intended to sail to the South Pacific alone, my mother volunteered to accompany me: an offer I gladly accepted. We spent 22 unforgettable days sailing across

the largest expanse of open ocean on the planet. With the mysteries of blue water sailing behind me, I spent the next year exploring French Polynesia and eastern Kiribati mostly on my own. I take more time in each place now, after realizing that if I don’t, I end

up just fixing the boat in every port and missing out on what I sailed all this way to discover. I now prefer to travel alone, indulging in the freedom of solitude and making choices based on weather and swell forecasts rather than itineraries. And so I continue west around the globe with no real plan, only the intention to positively impact the world, better myself, and cherish each glorious, bizarre, painful, and unbelievable experience that makes simply living on this planet the unavoidable adventure that it is. [d]

JAKE MOSSMAKING GREEN PRIORITIES

BY LIZ CLARK

I crossed paths with old friend and custom surfboard shaper, Jake Moss, while bouncing around San Diego. We exchanging greetings–small talk over a basket of raw figs–and then suddenly Jake’s eyes lit up. “I’ll be right back,” he said, disappearing quick-ly out of Seth and Helen’s house where we’d spontane-ously rendezvoused… He returned a few minutes later with a lovely key-lime green twin-fin under his arm. “Check it out, this board is made out of about 85% recycled or plant-based renewable materials.” He said, passing it over to me. I turned the board in my hands, admiring the lovely bamboo fins while he contin-ued to tell me about it… “The epoxy blank is made from 100% recycled and reconstituted packing scraps from department stores. NO CFC’s are released during the building pro-cess and 80% less VOC’s are produced compared to regular polyester board production. The resin is a zero VOC, 75% plant-based epoxy (made from pine sap and rapid-renewable, plant-based oils which are a biofuel by-product). And the fins are hand-made from bamboo and reinforced with natural fibers…”I was blown away…He had devised this all on his own and out of pocket…Lis-tening to him talk about it, it was easy to tell he’s not only an craftsman and artist, but a passionate environmental scientist, too. This was by far the ‘greenest’ surfboard I had ever heard of?! He then set the board upside-down on the polished cement floor and said, “and they’ve got 3 times the strength and flex of regular polyester boards.”

At that, he stepped with all of his weight directly on the center of the board… I cringed. But the board just flexed under his weight. The only thing that cracked was a little smile on Jake’s face. He stepped off, “They also the reduce waste and energy consumed in extracting, transporting, and refining new materials…” He’d done his homework! I was so stoked on Jake’s ambitions, that we met up a few weeks later to talk more about his ‘greening up’ his shaping room. That led into other topics I’d been mulling over during my time in California: Easy things that we can do in daily urban life to make it healthier, happier, and more eco-friendly? Here’s what Jake and I came up with:1. Make good consumer choices: try to buy local, natural products, made by eco/socially-responsible companies, try to buy products without excess plastic packaging (check out the Plastic Pollution Coalition’s addition to the 3 R’s!), and/or packaging that is recyclable. If you eat meat, choose sustainable seafood and/or organically and free-range meats and poultry. Look for fair trade products! The slightly higher costs of these products are offset by their good effects on you and the Earth!

2. Grow a garden or plant edible landscaping! Jake’s got a bustling garden box in his backyard in Solana Beach. And if you don’t have the space or time for that…then go enjoy your local farmer’s market! You can get lo-

cally grown products that taste WAY better than ‘store-bought’ ones. It feels good to know where your fruit and veggies came from and to get to know the growers. The positive human interaction has value too!

3. Eat healthier and Don’t waste food! Share entrees with your friends, cook at home, and try to be conscious of what you’re putting in your mouth!

4. Bring your own shopping bags and ‘to go’ cups and containers! I was absolutely horrified by the amount of waste that Americans produce daily and think NOTH-ING of…plastic shopping bags are ridiculous! We’re go-ing to be buried alive in disposable coffee cups and ‘to go’ food containers! Plus they take energy and resources to make and dispose of…Bring your own and feel good about it!

5. Walk/ride a bike/skate/etc whenever possible! It’s not only good for the environment, but it’s good for your body and mind and to increase your connection to your community! A boring drive to the market could be trans-formed into a joy ride with fresh air on your face as you glide past traffic lines and don’t deal with parking spaces! Integrate exercise into daily routines rather than get in the car and DRIVE to the gym!?

6. Get involved in your community! This is a venue small enough that you CAN have a significant impact. Jake has plans to get involved in a local community center in Sola-na Beach, where eco-minded people can get together and share information, visions, ideas, interests, offer classes, etc. Communities are a place to give and receive inspi-

ration, ideas, and positive energy! The good guys gotta stick together!

7. Stop buying fancy household cleaning products! My mom recently switched to using only vinegar, ammonia, baking soda, and occaaaaaaaaaaasionally bleach to clean the house. It’s crazy how many toxic chemicals those products have in them and how we’ve been brainwashed to think that they clean better than simple, natural clean-ing agents. It’s less expensive AND less harmful to you and the environment, and they work great! [d]

BIll MCCullouGH

William McCullough was born on a farm close to Kingstree, South Carolina. The farm is a Kings Grant. He lives there today with his wife Kathy and his teenage son Killian. Though he often paints all over the southeast, most of the paintings these days come from the farm and his studio there. “One can learn about a lot of things simply by painting - how and why they work. No other endeavor allows one to go out and spend ten to twelve hours looking at a clump of trees, or that spread of sky. It is pure visual information.” The McCulloughs lived in Charleston on Rutledge Avenue for many years. Kingstree is only an hour away from

Charleston and he often paints around the city. He has two daughters who live there. “Thus while the so-called post- modernist heirs continue to pursue novelty, realists such as William McCullough would prefer to remind us of the extraordinary beauty of the light on the side of a house. In a time when the survival of this lovely little blue planet has come into question, this is not an insignificant thing”, writes Bradford R. Collins, PhD, Professor of Art History at the University of South Carolina. McCullough has never wavered from his “older,realistic traditions”, never. Neither has he given up his connection to his Southern Heritage.

Stock Pond Oil on Canvas 38”x42”

Bogard Street Courtyard in Winter 36”x34”

Cannon Street Oil on Canvas

Venus Rising Oil on Canvas

A reverence for sense of place has allowed this painter to depict the light and natural essence of a locale whether McCullough paints a tryptic of the city center for The Greenville County Art Museum’s “25 Years of Greenville”, or depicts the interior of a cracker cottage as in his work, “Napoleon in The New World” for The Ogden

Collection of Southern Art in New Orleans. Although his trade has taken him to other locales, collectors and academics recognize his ability to divine and depict the true heart and essence of his subject. See more at www.williamwmccullough.com [d]

Study of Corner of Rutledge and Bogard Oil on Canvas

The Porch Oil on Panel 42”x31”

Looking up Cannon Oil on Panel 19”x22”

Top: Spring and Coming Oil on Canvas 42”x50” collection,Greenville County Museum

Bottom: Cannon Street Studio 32”x34”

Top: Buildings on Upper King Pastel on Paper 30”x21 1/2”

Right: View Into Kitchen Window Oil on Canvas

Bottom: Rutledge and Bogard

415 King Street Charleston, SC 29403 | (843)722-8689

It’s the 7th Inning and We Are Down by 1 Run

A Little Wisdom

from

Ted Turnerby Adam Bernholz

The Earth as seen From the Moon. Snapped on 12 June, 2010 by the Lunar Reconnaissance Orbiter Cam-era that was designed to conduct polar illumination studies and global mapping. NASA

Renewable energy and clean-burning natural gas are the basis of a new strategy the world needs to create a cleaner and more secure future. And the global transformation to a clean-energy economy may be the greatest economic opportunity of the 21st century. According to the authoritative Potential Gas Committee (administered by the Colorado School of Mines), the U.S. sits on top of massive reservoirs of natural gas—an estimated 2,000 trillion cubic feet—that contain more energy than all the oil in Saudi Arabia. Harnessing this large supply—plus developing wind, solar and biofuel energy sources—is essential to achieve three strategic national priorities:

• Energy security: The internal combustion engine makes us dependent on oil that’s concentrated in a handful of countries in some of the world’s most volatile regions. In June, we imported 374 million barrels of oil, nearly two-thirds of what we used, at a cost of $24.7 billion. With 70% of imported oil going into cars and trucks, our transportation system is perilously at risk to shaky oil markets and even shakier regimes.

• Economic security: Last year more than $155 billion was invested in clean energy technologies such as wind and solar, and China and India plan to invest hundreds of billions in renewable energy sources. The annual market for clean energy may escalate in the next decade to between $1 trillion and $2 trillion. The race is on.

• Climate security: Likewise, the clock is ticking on potentially devastating climate changes. We already are witnessing the disintegration of polar ice, melting glaciers, rising sea levels and altered weather patterns. But if we act now, we can prevent catastrophic human and economic impacts.

Long-term economic and environmental interests compel us to put a priority on energy independence and a price on carbon pollution. Natural gas and renewable energy are obvious sources for cheap, clean and reliable electric power and transportation fuels. In the electricity sector, natural gas is already cheap, available and ready to meet the nation’s power needs

New Priorities For Our Energy Future

By T. BOONE PICKENS AND TED TURNER

Ted Turner with family and friends on Earl McMillian’s yacht Freedom at the 12 Metre North American Championship/America’s Cup Reunion, Newport,

Rhode Island, September 2010. Turner won the America’s Cup challenge in 1977 on his boat Courageous.

while improving climate security. It emits about half the carbon dioxide per British thermal unit of energy, and far fewer of the heavy metals than does coal.Adopting a “cash-for-clunkers” program in the utility sector can save money and reduce emissions right away by retiring the oldest, least efficient and most polluting power plants in exchange for modern gas-powered plants. New coal plants should be required to combine natural gas with the coal they burn, resulting in cleaner emissions, and every power plant should meet strict carbon-emissions standards. We should also adopt a strong national standard requiring that electrical generation include a growing percentage of renewable fuels to help bring down costs over time, and ensure America’s place in the burgeoning global competition for innovative renewable and efficiency technologies. Numerous state initiatives have already demonstrated the feasibility of these standards on a smaller scale.

In the transportation sector, renewable energy and natural gas can also be deployed immediately. For a quarter century, natural-gas vehicle technology has been available but stymied by lack of leadership. Of the 10 million natural gas vehicles in the world, fewer than 150,000 are in the U.S. We can begin transitioning the nation’s fleet of 6.5 million 18-wheelers that run regular routes. It would

take just 20 refueling stations along a single highway to get trucks from one coast to the other. Centrally fueled urban business and government fleets also can quickly move to natural gas. The Ports of Los Angeles and Long Beach are in the process of buying new natural gas vehicles for their fleets, and many municipalities are harnessing the economic and environmental benefits of natural gas-powered buses. Renewable biofuels should also be part of a new energy strategy. Advanced biofuels produced from cellulosic material, such as forest residues, municipal waste or even algae, can play a key role in reducing the vulnerabilities, emissions and costs associated with imported oil, while also providing new economic opportunities for America’s farm communities. The economic, environmental, and national security imperatives of America’s energy posture are clear, as is the proven potential of domestic natural resources like gas, wind and solar power. Coupled with energy efficiency, these resources have the potential to help jump-start the economy, drive prosperity and reduce emissions well into the 21st century. The keys are in our hands. All we have to do is unlock the door and start the engine. [d]

Mr. Pickens is CEO of BP Capital. Mr. Turner is Chairman of Turner Enterprises Inc.

U.S. refineries produce between 19 and 21 gallons of motor gasoline from one barrel (42 gallons) of crude oil.

The global supply of crude oil, other liquid hydrocarbons, and biofuels is expected to be adequate to meet the world’s demand for liquid fuels for at least the next 25 years. (The Energy Information Office)

Petroleum products include transportation fuels, fuel oils for heating and electricity generation, asphalt and road oil, and the feedstocks used to make chemicals, plastics, and synthetic materials found in nearly everything we use today. About 72% of the 6.85 billion barrels of petroleum that we used in 2009 were gasoline, diesel fuel, and jet fuel.

Petroleum products and their relative share of total U.S. petroleum consumption in 2009:

Gasoline 48% Diesel Fuel1 17% Jet Fuel (Kerosene) 7% Propane/Propylene 6% NGL & LRG2 5% Still Gas 3% Residual/Heavy Fuel Oil 3% Petrochemical Feedstocks 3% Heating Oil3 3% Petroleum Coke 2% Asphalt and Road Oil 2% Lubricants 1% Miscellaneous Products & Unfinished Oils 0.2% Special Naphthas 0.1% Aviation Gasoline 0.1% Kerosene 0.1% Waxes 0.03%

Andy Anderson

Petroleum products and their relative share of total U.S. petroleum consumption in 2009:

Gasoline 48% Diesel Fuel1 17% Jet Fuel (Kerosene) 7% Propane/Propylene 6% NGL & LRG2 5% Still Gas 3% Residual/Heavy Fuel Oil 3% Petrochemical Feedstocks 3% Heating Oil3 3% Petroleum Coke 2% Asphalt and Road Oil 2% Lubricants 1% Miscellaneous Products & Unfinished Oils 0.2% Special Naphthas 0.1% Aviation Gasoline 0.1% Kerosene 0.1% Waxes 0.03%

Alaska’s crude oil production peaked in 1988 at about 738 million barrels, which was equal to about 25% of total U.S. oil production. In 2008, it was about 250 million barrels, or about 14% of total U.S. production.Since the Trans-Alaska Pipeline System from the North Slope of Alaska was finished 1977, about 96% of total Alaskan production has come from the North Slope. The rest comes from Southern Alaska.Most Alaskan oil has gone to refineries in Alaska, California, Hawaii, and Washington. Relatively small amounts were shipped to Puerto Rico, the U.S. Virgin Islands, and foreign countries.Export of oil transported in the Trans-Alaska Pipeline System was banned until 1996. Between 1996 and 2004, a total of about 95.49 million barrels of crude oil, equal to 2.7% of Alaskan production during that period, was exported to foreign countries. As of September 2009, no Alaskan oil has been exported since 2004.

The US Department of Energy has given Clemson University a 45 million grant for wind turbine research. There is also a 53 million dollar matching

fund from private partners Renk AG, who makes special gears; Tony Bakker, founder of Daniel Island-based Blackbaud; and James Meadors, head of

Meadors Construction and chairman of the Charleston Green Committee. Other organizations also will be involved as the project progresses, including

the Savannah River National Laboratory, which will handle the data processing.

190 jobs will start in January and the Department of Energy has been quoted as saying 10,000 to 20,000 jobs related to the development of

wind energy could be in the state’s future over the next 20 years. Clemson will test the next generation of wind turbines and drivetrains at the Clemson

University Restoration Institute’s research campus on the old Navy base, which includes theWarren Lasch Conservation Center, where the Confederate

submarine H.L. Hunley is being preserved.

The future of wind energy technology for the United States will come from the old Charleston Navy Base.

The Summer Wind Came Blowin’ in from Across the Sea

It Lingured There,To touch Your Hair

And Walk with Me

Left to right, clockwise: Vestas V90 Wind Turbine Kentish Flats off of England; Hywind floating wind turbine; Middelgrunden is an offshore wind farm in the

Oresund 3.5 km outside Copenhagen, Denmark. When it was built in 2000, it was the world’s largest offshore farm, with 20 turbines and a capacity of 40 MW.

The farm delivers about 4% of the power for Copenhagen.

From OPEC countries we import 4.75 million barrels of petroleum a day. 48 % of the imported oil. From Persian Gulf countries we import 1.67 million barrels a day. 17% of the imported oil.

Excerpt from Matt Taibbi’s

Griftopia:

Let’s go back in

time, to the early seventies.

It’s 1973, and Richard Nixon’s

White House makes the fateful

decision to resupply the Israelis

with military equipment during

the 1973 Arab-Israeli War.

This pisses off most

of the oil-producing Arab

states, and as a result, the

Organization of the Petroleum

Exporting Countries, or

OPEC - a cartel that at the time

included Saudi Arabia, Kuwait,

the UAE, Libya, Iraq, and Iran,

among others — decided to

make a move.

For the second time

in six years, they instituted an

embargo of oil to the United

States, and eventually to any

country that supported Israel.

The embargo included not only

bans of exports to the targeted

countries, but an overall cut in

oil production.

The effect of the 1973 oil embargo was dramatic. OPEC effectively quadrupled

prices in a very short period of time, from around three dollars a barrel in

October 1973 (the beginning of the boycott) to more than twelve dollars

by early 1974. The United States was in the middle of its own stock market

disaster at the time, caused in part by the dissolution of the Bretton Woods

agreement (the core of which was Nixon’s decision to abandon the gold

standard, an interesting story in its own right). In retrospect we ought to have

known we were in trouble earlier that year because on January 7, 1973, then–

private economist Alan Greenspan told the New York Times, “It is very rare

that you can be as unqualifiedly bullish as you can be now.” Four days later,

on January 11, the stock market crash of 1973-74 began. Over the course of

the next two years or so, the NYSE would lose about 45 percent of its value.

So we’re in this bad

spot anyway, in the middle

of a long period of decline,

when on October 6 Egypt and

Syria launch an attack on the

territories Israel had captured

in the 1967 Six-Day War. The

attack takes place on the Yom

Kippur holiday and the war

would become known as the

Yom Kippur War.

Six days later, on October 12,

Nixon institutes Operation

Nickel Grass, a series of airlifts

of weapons and other supplies

into Israel. This naturally

pisses off the Arab nations,

which retort with the start of

the oil embargo on October 17.

Oil prices skyrocketed, and

without making a judgment

about who was right or wrong

in the Yom Kippur War, it’s

important to point out that it

only took about two months

from the start of the embargo

for Nixon and Kissinger to go from bluster and escalation to almost-total

surrender.

On January 18, 1974, Kissinger negotiated an Israeli withdrawal from parts of

the Sinai. By May, Israel agreed to withdraw from the Golan Heights.

This is from the U.S. State Department’s own write-up of the episode:

Implementation of the embargo, and the changing nature of oil contracts,

set off an upward spiral in oil prices that had global implications. The price

of oil per barrel doubled, then quadrupled, leading to increased costs for

consumers world-wide and to the potential for budgetary collapse in less stable

economies . . . The United States, which faced growing oil consumption and

dwindling domestic reserves and was more reliant on imported oil than ever

before, had to negotiate an end to the embargo from a weaker international

position. To complicate the situation, Arab oil producers had linked an end

to the embargo to successful U.S. efforts to create peace in the Middle East.

Hilariously, the OPEC states didn’t drop the prices back to old

levels after the American surrender in the Yom Kippur episode, but just kept

them flat at a now escalated price. Prices skyrocketed again during the Carter

administration and the turmoil of the deposition of the shah of Iran, leading

to the infamous “energy crisis” with its long gas lines that some of us are old

enough to remember very well.

Then, after that period, the United States and the Arab world negotiated an

uneasy detente that left oil prices at a relatively steady rate for most of the next

twenty-five years or so.

So now it’s 2004. The United States and George W. Bush have just done an

interesting thing, going off the map to launch a lunatic invasion of Iraq in

a move that destabilizes the entire region, again pissing off pretty much all

the oil-rich Arab nationalist regimes in the Middle East, including the Saudi

despots - although, on the other hand, fuck them.

The price of oil pushes above forty dollars a barrel that year and begins a steep

ascent. [d]

The landscape of northern New Mexico is at once stark and scenic. The plains roll far into the distance to meet the snow-capped eastern slopes of the Sangre de Cristo Mountains. The vast openness can seem strange to a native Southerner used to seeing green in every direction. Plants like sage brush and deer grass get by on little water and marginal soils. But they survive in part because of one abundant resource, sunshine. This expanse of open land and abundance of sunshine - about 300 sunny days per year - also makes it well-suited for producing electricity with solar panels. It’s one of the reasons Southern Company’s first large-scale commercial solar plant is located here. Southern Company, Turner Renewable Energy, Tri-State Generation and Transmission Association, and First Solar Inc. have officially marked construction and donned the place the Cimarron Solar Facility. Construction is already under way, with poles in the ground and brackets and mounting tables being added daily. A June 9 ceremony marked the start of installation of the solar modules. The facility will consist of approximately 500,000 2-by-4-feet photovoltaic modules manufactured with First Solar’s patented thin film semiconductor technology.http://www.southerncompany.com/news/news_cimarron.aspxwww.TedTurner.com

Brilliant Skies to Power 9,000 Homes

SHAKERS & MOVERS

The 21st CenturyCharleston has always drawn people that could live anywhere but choose here. Like our

friend Ned Brown who writes for the New York Social Diary recently wrote “new arrivals to

Charleston in recent decades paved the way to making it special: financier Richard Jenrette

followed by Richard Rainwater(who made the Bass family fortune) and Mike Dingman of

Henley Industries; New York advertising and public relations leaders like Charlotte Beers

and Lou Rena Hammond; politicos like pollster Pat Caddell. The new arrivals had to be

coupled with interesting locals who bring texture.“

Mike Seekings is a successful attorney, businessman, private pilot, Adjunct Professor at the Charleston School of Law and a Charles-ton City Council member who has spent the last twenty years in the city of Charleston. As an avid runner and bicyclist, Mike has worked tirelessly in improving the biking/running conditions throughout Charleston. He understands that to make Charleston more bike friendly,

the city needs to make drastic infrastructure improve-ments as well as create special bicycle lanes to make

the city more accessible on bike. Mike was elected to his first year term to Charleston City Council in the fall of 2009 and he is mostly focused on control-

ling flooding, expanding the local economy, acceler-ating construction of the West Ashley Bridge pedes-trian/bike lane and improvement of The Greenway.

MIKE SEEKINGS

Photo by Brownie Harris

Charlestonians are known for being nice… to your face. But hop on two wheels, and you could find yourself at the tail end of a rude attitude. A group of graduates wants to change gears by making Charleston bike-friendly with a system of bike lanes and innovative changes to the cities policy on bicycles. The new Masters of Business Administration class at the

College of Charleston will present to the Mayor and City Council a cohesive plan to make the streets safer for those who prefer to fuel thier transportation

with their own sweat rather than foreign oil. With narrow lanes, a skinny municpal budget, and SUV-loving locals, these young activists are going to have a difficult task in front of them.

College of Charleston

MaStErS of BuSINESS adMINIStratIoN

Photos by Bette Walker

21 year old Haley Dreis is a classically trained violinist. The

singer-songwriter is reminiscent of artists like Sara Ba-

reilles and Michelle Branch, but her memorable melodies

and insightful metaphors are one of

a kind. Dreis currently writes songs

for herself and other artists, tours as

an artist, and continues to record new material, all while a

full-time music student at the University of South Carolina

Honors College. She has toured with Jay Clifford (of Jump

Little Children) and has performed alongside national

acts Tonic and We the Kings. You can learn more about

Haley and listen to her music at

http://www.haleydreis.com. Her

full-length debut album “Beauti-

ful to Me” is available on iTunes and CDBaby.com.

HALEY DREIS

One of Charleston’s finest citizens, Tommy Baker, has many things to get accomplished every day. Few people know just how many things that entails. He throws a golf tournament at Bulls Bay every year in December that raises money for the Children’s Hospital. He was the Chairman of the Board of the hospital for many years. For 20 years he has been a teacher at the Business School at the College of Charleston. He was one of the key factors in the College getting accredited for the Masters in Business Administration that came online in 2010. He is now busy helping them get a building in place. So when he is not doing this and other huge feats of philanthropy he is running one the most successful car dealerships in America. In 2008 he was the Best of the Best of Mercedes dealerships in the US and recently, the world. He has 9 brands on what he calls the campus on Highway 17. Some of the strongest brands in the world. Land Rover, Porsche, Infinity, Mercedes and Jaguar. But with all of this he is still one of the great people to know and

like. He is 100% accessible. Like one of the people in Macolm Gladwell’s The Tipping Point. Tommy Baker is a connector. Connectors are the people who “link us up with the world ... people with a special gift for bringing the world to-gether.” They are “a handful of people with a truly extraor-dinary knack [... for] making friends and acquaintances”. Gladwell characterizes these individuals as having social net-

works of over one hundred people. To illustrate, Gladwell cites the following examples: the midnight ride of Paul Revere, Milgram’s experiments in the small world

problem, the “Six Degrees of Kevin Bacon” trivia game, Dal-las businessman Roger Horchow, and Chicagoan Lois Weis-berg, a person who understands the concept of the weak tie. Gladwell attributes the social success of Connectors to “their ability to span many different worlds [... as] a function of something intrinsic to their personality, some combina-tion of curiosity, self-confidence, sociability, and energy.”

TOMMY BAKER

Photos by Bette Walker

like. He is 100% accessible. Like one of the people in Macolm Gladwell’s The Tipping Point. Tommy Baker is a connector. Connectors are the people who “link us up with the world ... people with a special gift for bringing the world to-gether.” They are “a handful of people with a truly extraor-dinary knack [... for] making friends and acquaintances”. Gladwell characterizes these individuals as having social net-

works of over one hundred people. To illustrate, Gladwell cites the following examples: the midnight ride of Paul Revere, Milgram’s experiments in the small world

problem, the “Six Degrees of Kevin Bacon” trivia game, Dal-las businessman Roger Horchow, and Chicagoan Lois Weis-berg, a person who understands the concept of the weak tie. Gladwell attributes the social success of Connectors to “their ability to span many different worlds [... as] a function of something intrinsic to their personality, some combina-tion of curiosity, self-confidence, sociability, and energy.”

Mark Bryan is a founding member, songwriter and lead guitarist for the multi-platinum, Grammy award winning Hootie and the Blowfish. While Hootie is on hiatus, Bryan constantly writes, records and produces music. He is the founder for Chucktown Music Group (CTMG). Founded in early summer of 2009, CTMG is a boutique music company focused in producing and releasing music in new innovative ways while helping local and regional acts get exposure.

Bryan debuted Song of the Fortnight in August 2010. A new song launches every two weeks through a streaming media player on the website, http://www.ctmg.us. Alongside the player, the site features artist images, bio information, a brief Q&A session and an option to purchase the song. This grassroots internet campaign intends to showcase local Charleston musicians as well as regional artists free of charge to the viewer.

Mark explains his inspiration behind the project, “I’ve been writing, co-writing, and producing music for years now, and I have a ton of great material that I

feel needs to be heard by more people. I have become increasingly disillusioned with the process of making and releasing albums in an era where listeners are more interested in individual songs. Fortnight felt like the most efficient way to bring the noise.”

Bryan also began teaching at the College of Charleston for the Arts Management Department in the fall of 2009. He is teaching an introduction to music management class covering all the basics of the music industry, including booking, publishing and production.

Bryan is also co-chairman for the board of Carolina Studios, a non-profit organization located in downtown Charleston. They have partnered with The Boys and Girls Club to provide a safe

after-school environment where disadvantaged youths are encouraged to develop their potential through the exploration of digital recording, digital photography, videography, and graphic arts. Furthermore, the children are able to develop core computer skills and behavioral skills needed for their ongoing education and their future careers. www.carolinastudios.net

MARK BRYAN

When Carolyn Bessett and John Kennedy Jr. decided to get married they picked their good friend Go Go Furguson to help plan the wedding on the small barrier island that she grew up on, Cumberland. It was on this island that she and her grand-mother Lucy Ricketson Ferguson, an amateur naturalist, would explore the pristine Georgia island. She said in a Garden & Gun article that “My grandmother taught me how to notice things as a young child: bird tracks, deer tracks, horse skeletons, lichen on trees, the pattern on flounder.

Alligator and horse skulls from the island always graced our fireplace.” Go Go is today one of the great jewelry designers out there. She took her childhood memories on Cumberland and translated

them to her art. From lost wax casting she makes beautiful things that are carried in boutiques and galleries all over the world. These days she spends her time between her studio on Cumberland Island and her studio

in San Miguel de Allende in Mexico, and her main studio at her store on St. Simons Island, Georgia.

GO GO

FERGUSON

In 2009 Mike Lata won the best chef award from the James Beard Foundation. Prior to that the self-taught chef was winning over a loyal clientele who appreciate his brand of artistic expression. Fresh and local are a mainstay. He loves the simple approach to great cooking. His vegetables and side dishes are exquisite. World Class. “When I first went into FIG, which stands for Food Is Good, I only ordered the cauliflower. I did

not want anything else to get in the way,” said a local celebrity. The front of the house of FIG is run by business partner Adam

Nemirow. What Mike does in the kitchen, Adam does on the floor. Make FIG an easy-going neighborhood restaurant. Mike was the executive chef at Anson’s

in 1998 before opening FIG. Charleston is lucky to have Mike Lata and it looks like it is also vise versa.

MIKE LATA

Chef/Partner


By College of Charleston graduation in the spring of 1998, Ham Morrison knew he wanted to race. He got behind the wheel for the first time at The Bob Bondurant School later that summer and his passion was fueled. To learn more about the sport, Morrison worked sales and marketing for his local track, the Summerville Speedway. That same fall, he bought his first racecar - a 1976 Chevy nova. “On Saturday nights Ham drove his race car to and from the track which really tickled the hell out of everybody, he was a real crowd favorite,” recalls his

crew chief Matt Cheroutes. In 2004, Morrison enrolled in automotive technology courses at night to learn more about engines and chassis setups while maintaining a full time job in historic home renovations in Charleston. Upon

competing in his first full season of racing, Morrison earned the

2004 Summerville Speedway Division Championship, securing 3 victories and 10 top 5’s that year. 2011 will be a big year for Ham as he keeps his dream alive on the race course. Follow him at www.hammorrison.com

K . HAMILTON MORRISON

Fanny and Patrick Panella, the owners of Bin 152, balance sophistication and intimacy in their fashionable wine bar. From this rustic and chic setting at the corner of King and Queen Streets, you can taste 130 different wines from across the globe. Enhance each sip with a selection from the à la carte menu of decadent cheeses and robust charcuterie. Wooden paneling and hardwood floors warm the room, which is lit by tiny votives

on each table. Enjoy a relaxed conversation in this never-rowdy bar. Grab a table by the window to watch well-heeled shoppers comb the renowned

antique district. Or, do some shopping yourself. Bin 152 is also an art gallery and an antiques market. So, if you want it, you can

have it. The art on the wall, and even the chair you are sitting on, is for sale. C’est parfait!

BIN 152


Take a good look around Charleston, and you’ll see lots of pineapples. Seriously. The image of this funky fruit is everywhere. It sits above door frames, is molded into wrought-iron gates, and even stands at the mouth of the harbor as a massive, splashing fountain. Why pineapples? Well, they’re a symbol for hospitality in this town. Charlestonians love to throw parties. And, to do it right, they hire Tara Guerard. She owns Tara Guerard Soiree, a full-service event-planning and design company in the Holy City. (Charleston is also known its churches, which just happens to make this picturesque harbor town ideal for throwing weddings).

Guerard transforms rooms into portals, whisking guests from reality into an alternate state. Check out her website, where chandeliers drip like stalactites from a fabric ceiling as voluptuous as Charlotte Rousse. Click around to get a feel for the variety of her transformations: romantic riverside settings, chic

and flirtatious lounges, and a dining hall so golden as if Midas himself had gotten carried away. Go to www.

taraguerardsoiree.com and you won’t be disappointed. In fact, Guerard’s parties are a lot like pineapples: sweet, zesty, and totally unexpected.

tara GuErard

“He neither drank, smoked, nor rode a bicy-cle. Living frugally, saving his money, he died early, surrounded by greedy relatives. It was a great lesson to me.”

John Barrymore (1882—1942 US actor)

Sambo MockbeeMADISON HOUSE1987pen, pencil, acrylic and crayon on yellow trace11 x 14 1/2 inches

CITIZEN ARCHITECTSAMBO MOCKBEE

December 23, 1944 – December 30, 2001

Mockbee was born in Meridian, Mississippi. He served two years in the U.S. Army as an artillery officer at Fort Benning, Georgia. He enrolled at Auburn University and was graduated from the School of Architecture in 1974. Mockbee interned in Columbus, Georgia before return-ing to Mississippi in 1977, where he formed a partner-ship with his classmate and friend, Thomas Goodman.A growing sense of connection with rural places and a respect for the disadvantaged people who inhabit them, led Mockbee, along with D. K. Ruth, to found the Ru-ral Studio program at Auburn University. That program became widely acclaimed for introducing students to the social responsibilities of architectural practice and for providing safe, well-constructed, and inspirational buildings to the communities of West Alabama. In many cases these buildings, designed and built by students, incorporate novel materials which otherwise, would be considered waste. The buildings often consist of a combination of vernacular architecture with modernist forms.

In 1993 Mockbee was awarded a grant from the Graham Foundation for Advanced Studies in the Fine Arts to work toward the publication of his book, The Nurturing of Culture in the Rural South An Architectonic Docu-mentary.In 1998, Mockbee was diagnosed with leukemia. After a strong and near miraculous recovery, he went on to ac-cept awards and recognition for his work including the MacArthur Foundation Genius Grant, but fell to a re-lapse of the disease three years later.Mockbee was nominated posthumously for the Ameri-can Institute of Architects (AIA) Gold Medal in 2003. No Gold Medal was awarded that year, but the following year, the medal was awarded to Mockbee.[1]

Some of Mockbee’s work was selected by Lawrence Rinder to be part of the Whitney Museum of Art 2002 Biennial.

David Moos curated an exhibition on Mockbee at the

Birmingham Museum of Art in Birmingham, Alabama, which was in its planning stages when Mockbee died. The exhibition was named, Samuel Mockbee and the Rural Studio: Community Architecture. This retrospective was intended to be a celebration, but because of his death, be-came a memorial and tribute.[2]^ “Samuel ‘Sambo’ Mockbee Awarded 2004 AIA Gold Medal Posthumously’, The American Institute of Archi-tects, December 2003

^ Samuel Mockbee and the Rural Studio: Community Ar-chitecture, Samuel Mockbee, David Moos (Editor), Gail Trechsel (Editor), 2003-11-01, Birmingham Museum of Art. ISBN 093139452X

3) Dean, Andrea Oppenheimer and Hursley, Timothy, “Rural Studio: Samuel Mockbee and an Architecture of Decency”, Princeton, NJ: Princeton Architectural Press, 2002. - wikipedia

Sambo Mockbeeby Neil Stevenson

“As an artist or an architect, I have the opportunity to address wrongs and try to correct them,” Mockbee once said. In 1992, Mockbee was hired as a professor within Auburn University’s School of Architecture. Viewing the opportunity as his chance to make a difference in a community and work with younger generations, he co-founded the Rural Studio with longtime friend and colleague D.K. Ruth. “The main purpose of the Rural Studio is to enable each student to step across the threshold of misconceived opinions and to design/build with a ’moral sense’ of service to a community. It is my hope that the experience will help the student of architecture to be more sensitive to the power and promise of what they do, to be more concerned with the good effects of architecture than with ’good intentions.” The attached images are examples of some of the most creative, adaptive reuse of common, salvaged materials used by the Rural Studio to humbly and inexpensively exalt architecture. The Yancey Tire Chapel was designed by a group of thesis Students who managed to build the structure using mostly

scavenged materials. The walls of the chapel were built of 1000 tires donated by The Central Tire Company who had just received a court order to clear its lot. The tires were filled with earth, wrapped with wire and covered with stucco. The floors were quarried by the students from a creek in Tuscaloosa, the heavy pine timbers were harvested

from an abandoned building, the roof was sheathed in rusted tin which they cut into shingles, the steel for the pulpit is made from scrap steel donated by the Department of Transportation and the land was donated by a local dairy farm. The entire Chapel cost $15,000 in 1994. The Mason’s Bend Community Center and Chapel was designed by another group of thesis students to replace the current Chapel which was occupying an old converted trailer at the time. The land was donated by Anderson Harris, owner of the Butterfly

House in exchange for the land, the students moved an old bus that Harris’s son was living in from the site to his back yard where he was closer to the family.

Like most Rural Studio Buildings, the resourcefulness of material usage only adds to the richness of architecture. The

rammed earth walls are 30% clay and 70% sand from the site which was mixed with portland cement, poured in six by eight inch forms and compressed with a pneumatic tamper. For trusses, the students cut down cypress trees from land owned by an Akron native and rural studio supporter and sent off to be cured and laminated. The left over timber was used to handcraft the benches. The glass roof is made from recycled car windsheilds which were obtained from a scrap yard in Chicago, where one of the students lived, which allowed customers to have anything they can pull away for almost nothing. For $120, the students managed to obtain 80 Chevy Caprice windshields. The structural steel was donated by the family of a journalist who had written a story about the Rural Studio. In the year 2000, the center was built for a total of $20,000 which was provided by Potrero Nuevo Fund of San Francisco in a community which doesn’t even have paved roads.

The Harris ‘Butterfly House’

Anderson and Ora Lee Harris lived in a leaky old ram shackled shack without heating or indoor plumbing. They practically lived on their 6’x14’ porch which was barely wide enough for Ora to maneuver her wheelchair around. Even so, when Samuel Mockbee first approached the Harris’s to see if they would be interested in the Rural Studio designing and building them a new, free house, Anderson Harris’s reply was “No, I don’t think I’ll take one of those today” as though he was being sold an Amway product. With some convincing the Harris’s relented.The new building would not be air conditioned and so would have to rely on good, natural ventilation and since the porch was basically the Harris’s living room, the design would focus on that space. The resulting design articulates a winged shaped tin roof, resembling a perched butterfly, built over the 250 sq. ft. screened porch, that not only

effectively catches the prevailing breezes but also harvests the rainwater which is held in a cistern and can be used for flushing the toilet or washing clothes.

By using inexpensive tin as the roofing material and recycled heart pine from a 105 year old church that was being raised nearby, for the building material, the cost for the house was able to be kept to about $25,000 plus another $5,000 for a wetland sensitive septic system. The project was finished in 1997.

BARTON HOUSE1989pen and colored pencil on paper14 3/4 x 18 inches

The accolades continued and his ideals and innovations lived on after his death. In 2002, the Rural Studio was part of the Biennial Celebration at the Whitney Museum of American Art in New York City and the NeoCon World’s Trade Fair, the annual design exhibition in Chicago. Mockbee was honored posthumously with Auburn University’s Lifetime Achievement Award. His students paid a memorial tribute to their leader with a Birmingham Museum of Art exhibit entitled “Samuel Mockbee and the Rural Studio: Community Architecture,” curated by David Moos in 2003. That same year, the cities of Vienna, Austria, and Barcelona, Spain, hosted exhibits on the Rural Studio and lectures by Andrew Freear, Mockbee’s AU colleague who assumed the mantle of leadership after his death. On March 3, 2004, Samuel Mockbee was posthumously awarded the American Institute of Architects’ prestigious Gold Medal, joining such luminaries as Thomas Jefferson, Frank Lloyd Wright, Eero Saarinen, and I. M. Pei. [d]

charleston the manual

Documents

college of charleston

contemporary charleston

alfred hutty

later selma tharin dotterer

talented artist

century charlestons

art class

young aspiring artist