As I hope you noted in my last post, the almost 71,000 Hugh Morton images from the Grandfather Mountain Series are now part of the collection’s online finding aid and are open for research. These images date from the late 1930s through the early 2000s, and thoroughly document Morton’s intimate, life-long connections to the Mountain.
In the latest essay in our Worth 1,000 Words series, scholar DREW A. SWANSON explores this relationship and also reminds us that the Mountain was there long, long before the man, and will exist long, long after. How did tourism and development affect the Mountain’s ecosystems before Morton inherited it? What impacts did his actions, in the areas of both development and conservation, have? What can we expect in its future as a state park?
The latest in our series of essays inspired by photographs from the Hugh Morton Collection focuses on images made of the Eastern Band of Cherokee, whose Qualla Boundary lands are primarily in eastern Swain and northern Jackson Counties, just south of the Great Smoky Mountains National Park. The essay, “More than Tourism: Cherokee, North Carolina, in the Post-War Years” is by Andrew Denson, Assistant Professor of History at Western Carolina University. Denson specializes in Native American history and the 19th-century United States.
In case you haven’t heard (perhaps you’ve been hibernating), 2010 marks the 75th anniversary of the Blue Ridge Parkway. Numerous events throughout the year will help mark this occasion, including a symposium next week at Appalachian State University, at which UNC Libraries’ Natasha Smith, Elise Moore, and faculty advisor Anne Mitchell Whisnant will unveil the exciting Driving Through Time digital project! (More on that after it’s launched).
It’s no secret that determining the route for the last leg of the Parkway was a protracted, complicated, and divisive process, but one that ultimately resulted in the much-celebrated (and photographed) Linn Cove Viaduct (shown from the air at left). In her essay, Whisnant uses some of Morton’s own images to shed new light on this conflict. She also provides a crucial backdrop for some of Morton’s later environmental work, which will be examined in future Worth 1,000 Words essays.
We look forward to receiving your thoughts and comments!
With the 63rd Annual North Carolina Azalea Festival kicking off next week, it seems an appropriate time to highlight the festival’s home turf: Wilmington, NC. Not only was Hugh Morton was born and raised in Wilmington, but he and his family played a major role in shaping the tourism industry and infrastructure of the charming, historic Port City.
In his prime, Parker was a big, rangy man who grew up in a small farm in Texas; his voice retained a warm Texas twang. He shot to a singular pop-culture fame in 1954, when Walt Disney’s Disneyland series broadcast “Davy Crockett, Indian Fighter.” With his buckskin jacket, long rifle, slow drawl, and his coonskin cap, Parker was an immediate sensation. Kids could not get enough of his unique mixture of warmth, toughness, humor, and taciturn wisdom.
After his Crockett years, Parker went on to embody the role of Daniel Boone from 1964 to 1970. When I saw Turner’s article, I couldn’t help but steal the embedded YouTube video he included, of the opening credits of “Daniel Boone”:
In July or August of 1966, Parker paid a visit to Boone, NC’s own “Horn in the West” outdoor drama, and of COURSE, Hugh Morton was present with his camera. (Parker is shown below with Horn actor Glenn Causey; more images of his visit can be viewed here).
Parker and the Horn crew apparently took a trip up Grandfather Mountain during this same visit (more images can be viewed here). You may also recall from a previous post that Parker’s TV son “Israel” (Darby Hinton) also visited Grandfather — whether it was at the same time as Parker, I can’t say.
If anyone knows additional details from these events, please share!
Recently Elizabeth told me about the demolition of the old “Top Shop” and the ongoing construction of a new shop on the summit of Grandfather Mountain. I grew up in North Carolina, and my childhood was full of visits to Grandfather Mountain; I loved searching through the gift shop after I walked over the Mile High Swinging Bridge. So to honor the transition from old to new, this post will be dedicated to the progression of development on the summit of Grandfather. (This is just a brief summary; perhaps the staff at Grandfather can provide a more detailed chronology?)
Originally, the gift shop/visitors center on the summit of Grandfather was just a little wooden building, with a stone bathhouse next door, as shown above. The first picture is a view of the first visitor’s center. I like this picture because it shows the quaint nature of the original design of the Grandfather summit. The second picture shows golfer Billy Joe Patton (left) and others at a trophy ceremony for the “Sports Car Hill Climb” event that used to be held annually. The wooden visitors center is in the background. I chose this picture because it shows how the summit was used as an outdoor gathering space.
Morton inherited the land at Grandfather Mountain in 1952. In the 1950s (according to the book Grandfather Mountain by Miles Tager), “the postwar economic boom had by this time returned visitors to the region, opened up by the Parkway and other roads,” after the scarcity of visitors during the Great Depression. Morton took advantage of the prosperity of the 1950s by constructing a new road to the summit, a new parking lot, and a new gift shop. The picture above shows construction of the road to the summit.
The new building, dubbed the “Top Shop,” was constructed in 1961. The first picture is of construction of “Top Shop” visitors center, right before it was completed in 1961. The next picture is of the “Top Shop” soon after it was built. And the last picture is of tourists browsing the new gift shop.
Grandfather Mountain has gone through many phases to become the popular attraction that it is today. The new shop will have many advantages over the old one, will be less of an obstruction to the view of Grandfather’s profile, and is much needed because of the weather damage that happens to buildings on the summit. (To see pictures of the construction of the newest “Top Shop,” click here). But though these transitions at Grandfather Mountain are all for the best, it is nice to look back at the simple beginnings of the wooden gift shop sitting on a barely developed piece of land.
Note from Elizabeth: I’m pleased to present the very first essay from Worth 1,000 Words project, written by journalist Rob Christensen. Rob has been writing about N.C. politics as a reporter and a columnist for 36 years for TheNews and Observer and The Charlotte Observer; his book The Paradox of Tar Heel Politics won the N.C. Literary and Historical Association’s Ragan Old North State Award for the best work of nonfiction in 2008.
Update 2/9/10: This post has now been converted into its own “page” under the Essays section of A View to Hugh.
This weekend (Sept. 4-5) marks the second annual Daniel Boone Days festival in my lovely hometown of Boone, NC. From the looks of it, the festival has really taken off since last year — they’ve attracted some big names and the schedule is “jam packed with activities for all ages and tastes, including children’s music and games, living history, arts & crafts, food & drink, dancing, poetry, storytelling and live performances.” The festivities kick off Friday with the Dr. Edwin Arnold Daniel Boone Symposium today (full disclosure: Dr. Arnold, a.k.a. “Chip,” is my dad, and he was heavily involved with organizing the first festival last year).
It’s a good bet that if Hugh Morton were still around, he’d be in Boone with his cameras this weekend. (In particular, he would NOT miss an opportunity to photograph the setting of a new World Record for the “Most People Dressed Like Daniel Boone at One Time”!).
Like many who live in the Western part of our state, Morton clearly had a Daniel Boone fascination. Besides developing a Boone exhibit for Grandfather Mountain’s Nature Museum, he photographed Boone’s Horn in the West outdoor drama from its early days, when Ned Austin played the famous pioneer (see above), and took many a portrait of Glenn Causey (below), the actor who took over the role in 1956 and played it for the next 40 years! (FYI, the portrait of Horn author Kermit Hunter on the “Horn History” web page is also a Morton image).
Morton also photographed the graves of Boone’s parents in the Joppa Cemetery near Mocksville, as well as Asheville’s competing Daniel Boone drama Thunderland, including the mysterious portrait below, taken circa 1952. (Does anyone know who this is? Thunderland author Hubert Hayes? Composer Lamar Stringfield?)
Hope those attending this weekend’s festivities in Boone will report back! I myself am headed to the opposite end of the state for one last salty taste of sand and surf, before the delicious crisp of fall sets in for good . . .
Note from Elizabeth: This is the fourth post researched and written by volunteer Jack Hilliard. Ten years ago today, on July 9, 1999, the move of the Cape Hatteras Lighthouse to its new location was completed.
It wasn’t difficult to recognize Hugh Morton when he came to Greensboro in the spring of 1982 for the annual Governor’s Conference on Travel and Tourism. He was the gentleman in the Carolina blue jacket and the yellow tie embroidered with an image of the Hatteras Lighthouse. His lapel button identified him as “Keeper of the Light.”
A year before, Morton had formed the “Save the Cape Hatteras Lighthouse Committee,” in response to the growing concerns about the safety of the 129-year-old structure. His committee read like a who’s who in North Carolina: Morton was even able to get his friends (and political foes) Democratic Governor Jim Hunt and Republican Senator Jesse Helms to lead the project. (The two would engage in a 1984 Senate contest that Newsweek magazine called “the most colorful, expensive, and nasty Senate contest in the country,” but in 1981 they were on the same team).
This powerful group was able to raise $500,000 in a very short time, with Morton using some of the same techniques that he had used 20 years before to bring the Battleship USS North Carolina to Wilmington. The money was used for sandbags, sand fences, and Seascape synthetic seaweed. All of these measures were extremely helpful in building up the beach around the lighthouse.
Morton and Hunt were able to literally measure their success. In an interview for the December, 1997 issue of Lighthouse Digest magazine, Morton said:
“Governor Hunt and I took a tape measure; one of us stood at the base of the light and the other took the tape to the water’s edge–and it was not low tide either. The tape showed it was 310 feet from the water to the tower–quite an improvement over the less than 100-feet when the project started. The seaweed had trapped the sand moving south and built up the land under the water as well as the beach itself.”