Hugh Morton cultivated many relationships in his various roles as photographer, publicist, land developer, and civic pillar. He became friends with paragons of athleticism (Michael Jordan, Ted Williams), beloved celebrities (Charles Kuralt) and, in the instance that is relevant to this blog post, people of great geopolitical significance. One of these people, General William Westmoreland, first met Morton on November 11, 1963 during a Veterans Day Celebration for the USS North Carolina.  A few months after, he was appointed by President Johnson as commander of the U.S. Military forces in Vietnam, a post that lasted until 1968.

Military Man

Westmoreland is known primarily as a military man, and his public image was a stern one—sharp features, piercing eyes, powerful eyebrows, and a visible discomfort in plainclothes. He is shown here looking as natural and imposing as a granite cliff in his formal military attire at the Grandfather Mountain Highland Games. Given his military demeanor, then, it must have seemed a daunting task to Hugh Morton when he was asked by Westmoreland’s Public Relations firm to take pictures of him living an entirely domestic life. Westmoreland needed PR assistance with a $120 million libel suit he filed against CBS in response to their 1982 documentary, The Uncounted Enemy: A Vietnam Deception. This documentary, narrated by journalist Mike Wallace, accused Westmoreland of manipulating military intelligence to claim there were fewer communists in South Vietnam, thereby creating the impression that the war was being won. Westmoreland was upset at this assault on his character, and mounted a lawsuit against CBS and Mike Wallace.
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Though you wouldn’t know it from looking at today’s Daily Tar Heel, Hugh Morton took this legendary photo of the legendary Michael Jordan. It’s maybe Morton’s best-known (and least-credited) image, and appears on p. 191 of Hugh Morton’s North Carolina. As Morton tells it,

Michael Jordan was airborne in Carmichael Auditorium against Virginia, and this is my most published action shot of him at Carolina. I told him ahead of time that I hoped he would have a good game, and as he brushed by after making this basket he asked, “Was that good enough?”

Good enough and then some! Some say Jordan was the best that ever played. Certainly good enough to insure his induction into the Naismith Memorial Basketball Hall of Fame today, just as soon as he became eligible.

We’ve been writing way too many of these memorial blog posts lately . . . Hugh Morton images of the “Lion of the Senate” are pretty few and far between, but there are some, mostly from the 1972 Democratic National Convention in Miami (see above).

I also found a few choice shots of Kennedy from the May 17, 1964 memorial for his brother, John Fitzgerald, held in UNC’s Kenan Stadium. The second image below shows Kennedy on stage with none other than Bill Friday. That’s Hugh Morton just visible at the right, so he could not have taken these photos. Wonder who did?

As I was preparing this blog post, I got the following email from library student assistant Kyla Sweet-Chavez:

Just thought you’d want to know that Morton saved the day today! UNC-TV was looking for some Ted Kennedy in NC footage, from a tribute service to JFK that the NC Film Board produced. Stephanie pulled the two copies from the collection and both were in pretty terrible shape, either no sound or lots of splices. I came up to work, saw what she was working on and remembered processing that film in the Morton collection. Pulled the film and lo and behold, it’s a really nice print with good color, sound and no splices. It’s been digitized to DigiBeta and is in the process of being sent off. Hurrah for Hugh and his collecting ways!

So, keep your eye out for that footage!

The “Stephanie” Kyla refers to above is the moving image archivist here in Wilson Library, and Kyla works for her — currently, on a project to process the Hugh Morton motion picture film. Kyla’s going to update us on that project in a separate blog post, coming very soon.

Thomas Wolfe Memorial, Sept. 1958

Though this admission may cause some to question my Tar Heel credentials, I will confess that I am currently reading Thomas Wolfe’s Look Homeward, Angel for the very first time. It’s a moving and incredibly rich book, though, okay, occasionally long-winded. As I read, I am struck again and again by the vibrant imagery of Wolfe’s language — his descriptions of nature and food, in particular, truly engage the senses.

Thus it would come as no surprise that someone as visually-minded as Hugh Morton would feel some affinity to Wolfe — not to mention that both were “big men on campus” at UNC-Chapel Hill in times of war (Wolfe during WWI and Morton during WWII). In 1941 (only a few years after Wolfe’s untimely death) Morton had his own first-person encounter with Angel’s milieu. As he recounts on page 7 of Sixty Years with a Camera:

While I was a student at Chapel Hill, the CAROLINA MAGAZINE sent me to Asheville to interview Julia Wolfe, the mother of novelist Thomas Wolfe, at the Old Kentucky Home. You remember that Tom wasn’t very kind to his mother in his book….and for a while I wasn’t sure that I was going to be kind to her. But after I’d been there for a day, she warmed up, became very friendly, and took me out to the cemetery to see his grave.

Ed Rankin describes this same event on page 249 of Making a Difference in NC, quoting Morton as saying that “[Mrs. Wolfe] was obviously proud of her son, proud of the success his works enjoyed…but she had mixed feelings about what he had written about her. Perhaps she didn’t know whether to laugh or cry.”

I have to say that these Morton images certainly conform to my mental picture of Angel’s Eliza Gant, the white-faced, pursed-lipped penny-pincher who endlessly tormented her youngest son Eugene.

The North Carolina Collection here in Wilson Library holds several Wolfe-related collections, including an photograph collection. Library staff are currently working on an overhaul of the online access to these collections, so keep your eye out for some nice new finding aids!

And speaking of Wolfe-related imagery, UNC’s Center for the Study of the American South is currently exhibiting artist Douglas Gorsline’s rarely-shown original drawings for the first illustrated edition of Angel, loaned from the North Carolina Collection. The drawings are on display through September 30, with a public reception next Thursday (8/27) featuring live music and dramatic readings from the novel.

It’s been well established on this blog that Hugh Morton was a huge music fan, and there are many images in the collection that relate to music, musicians, and music history: swing, jazz, gospel, folk, and other traditional music from a variety of traditions. Continuing in this series of entries, I would like to present the Durham-born musician John D. Loudermilk.

The cousin of Ira and Charlie Loudermilk (better known as the Louvin Brothers), John Loudermilk was born in Durham, NC in 1934. Also known as “Johnny Dee” and, occasionally, “Ebe Sneezer” (of Ebe Sneezer and the Epidemics), Loudermilk has been involved with music as a singer, songwriter, and ethnomusicologist. He has written and performed within the context of several genres, including 1950s teen rock and roll, blues, and country music (a biography on CMT.com calls him “incredibly erratic” and “one of the weirdest figures of early rock & roll,” in part due to his ability to evade classification).

Our fellow Wilson Library occupant, the Southern Folklife Collection, holds the definitive John D. Loudermilk Collection of sheet music, correspondence, memorabilia, recordings, and other materials. They kindly provided us with an audio clip of “Tobacco Road,” below. As CMT.com says of the song, “if he’d written nothing else, Loudermilk would have been worth a footnote in any history of popular music.” Recorded in 1960 as a folk song, it soon became a cross-genre favorite, performed by such disparate acts as The Nashville Teens, Jefferson Airplane, David Lee Roth, and Eric Burdon & War.

>> PLAY “Tobacco Road” by John D. Loudermilk <<

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Consider this just a brief View to Hugh tribute to legendary newsman Walter Cronkite, who was laid to rest this week. Blog commenters have noted Cronkite’s primary connection to Hugh Morton: he lent his authoritative voice and reputation as narrator for Morton’s 1995 PBS documentary, “The Search for Clean Air.” As commenter and Morton collection volunteer Jack Hilliard already recounted:

I recall Hugh telling the story of how Cronkite was selected. Morton said he had originally wanted his long-time friend Charles Kuralt for the program, but since the program was scheduled for PBS, Kuralt’s CBS contract would not permit him appearing on a competing network. So when Morton told Cronkite this story, Cronkite said, in his unique deep voice, ”Well, you got me.”

Julia Morton described Cronkite as “lightening in a jar.” We’re lucky to have had him for so many years.

In the post, “Don’t Smoke Your Eye Out” I related the course of events that led to identifying Joe Clark, HBSS, who up to that point was an unidentified person in a Hugh Morton photograph, standing next to Andy Griffith as he aimed a slingshot while simultaneously holding a cigarette. The above photograph, a group portrait of the 1956 Honorary Tar Heels dinner attendees in New York City, was a key to identifying Clark (second from the right standing next to Hugh Morton). I didn’t know at the time I wrote the post that the original negative was in the collection, so I present it to you in this post. Bob Garland (on the far left holding a camera) likely made the photograph, as his name is on the negative.

This post will introduce you to the Honorary Tar Heels (HTH), a lose-knit social club formed in 1946. But first, a special treat: in a comment for “Don’t Smoke Your Eye Out,” Julia Morton mentioned a photograph of Joe Clark standing on the top of the Mile High Swinging Bridge at Grandfather Mountain. We found the negative; daring stuff!!!

The Honorary Tar Heels began in 1946. During that year, Curtis Publishing (of Saturday Evening Post and Ladies Home Journal fame) sent writer Francis X. Martinez and photographer William S. Springfield to North Carolina to work on a “red-herring” (pre-publication) edition of a magazine to be called Holiday.  Bill Sharpe, head of the Division of Advertising and News of the North Carolina Department of Conservation and Development, guided the pair from one end of North Carolina to the other.  During their three-week sojourn, Springfield took to imitating the locals—eating their food, drinking their liquor, and imitating their dialects.  After they left, Sharpe asked Governor R. Gregg Cherry to sign a “corny little proclamation” making Springfield an “Honorary Tar Heel,” to which Cherry obliged.  Springfield proudly showed his certificate around and before too long other visiting photographers and writers began requesting the appellation.

Sharpe knew Joe Massoletti, a New York City restauranteur with a cottage at Hatteras, and the two shared several mutual friends among the newly anointed HTHs.  Massoletti suggested to Sharpe that they be invited to Hatteras sometime in 1947 for a weekend of fishing.  To make it a festive event, Massoletti supplied a chef and a waiter from New York, and had food flown from New York to Manteo and then boated on the Pamlico Sound to Hatteras.  A group of thirteen HTHs, including Massoletti as host, attended the gathering that included writers and photographers from the New York Times, Life Magazine, and National Geographic.  A group portrait of those who attended, probably made by Holiday staff photographer Al DeLardi, can be found on the cover of The Honorary Tar Heels, 1946-1967: A Pictorial History.  Governor Cherry also attended, although he arrived after the photographs was shot.

Members of the budding affiliation continued to meet two or three times a year—most likely through the efforts of Sharpe as a means to maintain his media connections—at places such as Nags Head, Cataloochee Ranch, Lake Logan, Morehead City, Wrightsville, Linville, New York, Washington, and Philadelphia.

But what of Hugh Morton and Holiday, the publication that served as the unlikely catalyst for the HTH?

Martinez and Stringfield teamed up to produce “Village of Stars,” an article about the Lost Colony drama on Roanoke Island, for the fourth issue of Holiday published in June 1946.  Though not a wide-ranging essay on the state, their three-week trek may have laid the ground work for the magazine’s October 1947 issue that featured North Carolina in a lengthy article written by News and Observer editor Jonathan Daniels.  The article featured photographs by DeLardi, one of which depicted four men playing cards while two men examine a fishing rod and reel next to a fireplace inside Massoletti’s cottage and may well be members of the HTHs.  The heavily illustrated twenty-six page article also included images by several photographers, including eleven by Hugh Morton.

Pappy says: “Never shoot at the bull’s eye, shoot at the center of the bull’s eye.”

—from I Remember, by Joe Clark

The photograph above (cropped) of Andy Griffith aiming a slingshot while holding a cigarette in the same hand was among the first negatives from the Morton collection that I scanned soon after the collection arrived, and it has remained one of my favorites. It just seems so funny to me to have both in your hand at the same time. I’ve used that photograph in public presentations several times and have asked most audiences if anyone knew who the fellow on the left might be. No one ever came up with his name.

Elizabeth has been egging me to write more posts, and she thought the recently enacted North Carolina law banning indoor smoking would be a good stepping off point for an entry on some of Hugh Morton’s scenic landscapes of tobacco fields. The Andy Griffith image, however, quickly popped into my head so I asked her and David if there might be some other interesting indoor smoking images in the collection. Neither could recall any, but Elizabeth pointed me to Morton’s book Making a Difference in North Carolina to see if there might be some in there.

Other than an unlit cigar, I did not find any smoking photographs. But on page 283 . . . Eureka! . . . I saw a group photograph with then Governor Luther H. Hodges, Sr. and Andy Griffith—not of them smoking, but including someone standing next to Griffith’s left side who is completely cropped out of the photograph except for his coat sleeve and the tiniest corner of his eyeglasses. That sliver immediately triggered my brain cells that are associated with the Griffith slingshot image. Looking back through the scanned negatives, David pulled up the image used for the book. Here’s an uncropped version of the group photograph:

Notice the slingshot in the hand of our mystery gentleman.

The caption for the photograph in Making a Difference describes the gathered posers as members of the Honorary Tar Heels in New York City, so off I went to the Library’s catalog. It revealed a record for a booklet in the amazingly deep North Carolina Collection—The Honorary Tar Heels 1946-1967: A Pictorial History written by Bill Sharpe. Inside the booklet is a group portrait of the attendees of their 21 January 1956 dinner in New York City, and standing next to Hugh Morton, with his armed wrapped around him, is the mystery man—identified as “Joe Clark, H.B.S.S., Detroit, Michigan.”

H.B.S.S?

“Googling” that acronym led to a web page at thefreedictionary.com that presents five possible definitions. “Hank’s Balanced Salt Solution” didn’t apply, nor did the next few, but wait . . . the last one?  Well that would be “Hill Billy Snap Shooter (Joe Clark photography book)” . . . and this mystery enters into the realm of the surreal!!! That revelation explains another photograph in the collection, shown below, with our now identified Joe Clark aiming to shoot with a camera rather than a slingshot.  That’s Hugh Morton on the right, . . . and that’s Bill Sharpe in the middle, smoking indoors in New York City.

Once again I cannot stump the North Carolina Collection, which has Clark’s 1969 book, I Remember, a collection of his poems and photographs. And there it is, on the spine and the title page, “Joe Clark HBSS.”  Luther Hodges, Sr. signed the inside front endpaper of the book in 1970, and on the next page is written “Joe Clark—the author is an old friend and an Honorary Tar Heel.”  Davis Library pitched in, too, with Clark’s earlier book, Back Home, published in 1965. The front endpaper of that book depicts Clark with a camera over his shoulder—and a slingshot in his hands. More research revealed Clark’s other books: Detroit, God’s Greatest City published in 1962, Lynchburg (1971), Tennessee Hill Folk (1973), and Up the Hollow from Lynchburg (1975). The Bentley Library at the University of Michigan has a modest collection of Clarke’s published works and a videotape interview of him featuring his son, Junebug Clark.

Another Morton collection mystery solved! Oh, one last thing . . . .  Since the group portrait in Making a Difference in North Carolina is cropped to the right of Griffith, the above uncropped version unveils a gentleman on the far right. That’s photographer Joe Costa.

As for the rest of the Honorary Tar Heels story? Well, there are more photographs in the Morton collection of this and other of the group’s events. Looks like Elizabeth won’t have to egg me on for another post!

It’s that time of year again — the shrubs are blooming, the Queen has been selected, and Wilmington is all geared up for the 62nd annual celebration of “all that is Southern” — the NC Azalea Festival, which begins this week.

Stephen forwarded me a link to a charming article from last week’s Star News in which longtime Wilmingtonian Thurston Watkins, Jr. “remembers splendid, scandalous events from past Azalea Festivals.” In skimming through the article, I realized we had Morton images to illustrate many of the choice moments Watkins recalls. A few are included below.

Watkins reports: “Announcement of our festival to all points was accomplished by Ted Malone’s coast-to-coast radio show. Malone had mastered the art of descriptive English and would be considered an equal to Charles Kuralt’s abilities many years later.”

Watkins reports: “I remember the festival having a ‘close call’ with Queen trouble. Janet Leigh had agreed to be our Queen, but just before she was to arrive, her husband, Tony Curtis, canceled the deal. Hugh Morton was aware of a movie star, Cathy Downs, accompanying her husband at the Azalea Golf Tournament and approached her with our problem. She agreed to be the ’short notice Queen’ and they secretly took her to Fayetteville and put her on a plane back to Wilmington. The arrival ceremonies turned out just fine and her ‘royal subjects’ never knew she hadn’t made the trip from Hollywood.” (The year was 1952, and Morton took several stunning portraits of Downs, including the one above).

And finally, one Watkins memory I just have to correct. He recalls “a ‘tipsy’ Wilmington Mayor crowning a Queen Azalea at Lumina, Wrightsville Beach—with the crown upside down—then proceeding to almost fall off the stage.” That tipsy mayor was actually the Governor of North Carolina, R. Gregg Cherry, who crowned the very first Azalea Queen, Jacqueline White.

As Susan Taylor Block recounts on page 26 of her book on the Azalea Festival, Belles and Blooms:

At her coronation ball at Lumina, Miss White’s composure was tested when Governor R. Gregg Cherry crowned her Queen Azalea I. The first citizen of NC had been in town all day, enjoying seeing a number of old friends. After spending hours socializing, the elderly gentleman was somewhat overdosed on Southern hospitality. He teetered dangerously close to the edge of the stage before placing the crown upside down on Miss White’s head.

This detail of Morton’s photo shows the upside-down crown:

Today, Monday, February 16, is Presidents’ Day (or “Washington’s Birthday,” in Virginia). Though most of America will be preoccupied with the Lincoln Bicentennial or stupefied by the great deals at their local auto dealerships, I would like to use this day to celebrate (or at least acknowledge) some Presidents who typically do not have bargains associated with them.

There are photos in the Morton Collection that depict Presidents Harry S. Truman, Dwight D. Eisenhower, John F. Kennedy, Richard M. Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H.W. Bush, and Bill Clinton. I have selected four to share.

First, one that I scanned last fall, and stored away for this very holiday. It was found between some images of athletes standing outside, and women posing with flowers — you just never know where this guy will show up.

It’s a young, barely-jowled Richard Nixon in a tent, eating an unidentifiable platter of food in a most aggressive fashion. His wife, Pat, sits beside him and appears characteristically patient. Why is he here, and what is he doing (besides aggressively eating)? Pat Nixon appears in many other pictures that are probably from the annual Azalea Festival, and we know that the Nixons attended the 1958 Rhododendron Festival at Roan Mountain, TN. Perhaps one of these events explains why this young, earnest couple is featured in this picture.

Here is a picture of another President, this time fully vested in the title of Commander in Chief, and in a more Presidential pose.

Yes, Dwight David Eisenhower, smiling grimly as the possibility of a national crisis looms: the 1957 desegregation of Little Rock’s Central High School and the subsequent unwillingness of Arkansas Governor Orval Faubus. That’s why Hugh Morton’s friend and NC Governor Luther Hodges is there — the President summoned a crack team of five Southern Governors to try and uphold the ruling of Brown vs. Board of Education in Arkansas while preventing riots.

Besides Eisenhower, Hodges, and a man that is most likely Faubus himself (second row, far right), the identities of the other men are unconfirmed. Who wants to help identify them?

Here’s something more cheerful: a beaming President Jimmy Carter, on the 1980 re-election campaign trail in Winston-Salem’s Tanglewood Park hosted by the applauding Governor Jim Hunt. But all the good will couldn’t help Carter overcome the fuss over the Iran Hostage Crisis, a flagging economy, and a 28% approval rating . . .

. . . and Carter instead had to vacate his post in 1981 for this affable, handsome Californian. Ronald Reagan, seen here in April 1959 at the Azalea Festival with Love Me Tender actress and Azalea Queen Deborah Paget, was at the time on the payroll of General Electric, hired to make motivational pro-G.E. speeches at various venues.

These pictures, taken individually, provide explicit and implicit narratives, but as a whole, what do they say about the American Presidency and the people who held its office? It is easier, instead, to see the narrative they present regarding their photographer, Hugh Morton: that he had access available to few, and the photographic ability to make something of it.