Tulsa History: November 2005 Archives

Tom Baddley has some new content up at Lost Tulsa: the old Abundant Life Building near 16th and Boulder (the windowless building with the white and gold diamond shapes), Eastland Mall, Rose Bowl, and pedestrian tunnels in downtown Tulsa. Be sure to click on the photos to see the full photo set for each entry.

Dwayne, the Canoe Guy, has recently posted some photos of great neon signs from OKC, Tulsa, and Springfield, Missouri, including the Brookshire Motel, and the Woodland Shopping Center and Desert Hills Motel. (He also posted pictures and instructions for cooking turkey in a trash can.)

No entry about lost and forgotten places would be complete without checking in with Kevin Walsh, who set the standard for local history websites with Forgotten NY. He's under contract and working on a Forgotten NY book, due out next fall from HarperCollins. He's keeping a diary of the process.

I'm looking forward to the book, and it's interesting to learn what's involved in producing a photo- and map-intensive book. For a long time, I've wanted to do a kind of time capsule book of Tulsa in 1957, back when we called ourselves "America's Most Beautiful City." I'd like to use maps and photos to give the reader a sense of what it would be like to take a time machine back to when Tulsa still had a lively downtown, back before expressways, back when Tulsa was still a fairly compact city, but the thought of creating the maps and locating and acquiring the rights to contemporary photos has daunted me.

I was very sad to read of the intent of the Sand Springs Home, the charitable trust created nearly 100 years ago by industrialist and philanthropist Charles Page to care for widows and orphans, to demolish the 87-year-old dormitory building. They plan to build a rec center in its place.

It looks to be a big and sturdy old building, and it's a building that means a lot to the kids who grew up there.

Trustees are saying that the cost of renovation would be astronomical, and they wouldn't know what to do with the building anyway. The fact that they don't cite even a ballpark cost for renovation tells me that the trustees never considered it. I'm sure they haven't looked into "mothballing" the building -- even if you don't have an immediate use for a historic building or the means to do an immediate renovation, you can spend considerably less money to secure a building and prevent deterioration until you're ready to do something with it.

At some point, and I keep thinking the day is finally near, there will be a consensus that preservation is a good and worthwhile thing among the Oklahomans who have the wealth and power to do something about it. Hopefully that will happen before too many more landmarks fall to the wrecking ball.

MeeCiteeWurkor grew up in the Home's Widows' Colony and has much more to say about the situation, and he links to a web page for Home alumni, which has an online petition you can sign, asking the trustees to spare the building.

I went to a presentation this afternoon at Central Library about the digital version of the Sanborn fire maps. These are maps that were created for fire insurance purposes from before the turn of the 20th century through the 1960s, showing details of each structure -- number of stories, footprint, building material, and sometimes the name or type of business. It's a valuable resource for trying to reconstruct what was where at a given point in time.

Tulsa City-County Library card holders have access to fire maps for Oklahoma online, from anywhere on the Internet, via this link. If you're not in a library, you'll have to log in with your last name and library card number.

I've got an idea for a series about lost downtown Tulsa, going block by block, telling what was on each block over the years before it was turned into asphalt. These maps, combined with city directories, will be a valuable resource. Just so no one else claims it, I'll give you my working title: "If Parking Lots Could Talk."

Took a couple of hours off work today and went with my wife and five-year-old daughter to a special hour-long program at the Performing Arts Center about the life and music of Bob Wills, featuring John Wooley, a writer and music historian, and Ray Benson and Jason Roberts of Asleep at the Wheel.

Wooley gave a brief historical sketch of Bob Wills' life and career and of the origins of Western Swing music. He gave his working definition of Western Swing, which he said he's still refining: Jazz improvisation, on top of a dance beat, done with instruments associated with cowboy or hillbilly music. I think that about captures it.

Then Ray Benson and Jason Roberts came up, acoustic guitar and fiddle in hand, respectively, and Benson talked about how the musical drama "A Ride with Bob" came to be, and recognized playwright Anne Rapp, who was in the audience. Benson asked rhetorically why the emphasis on Bob Wills -- there were a lot of great Western Swing bands and musicians back in the '30s and '40s. The answer is the spark, ambition, and charisma that Wills brought to the music, and "A Ride with Bob" attempts to give the audience a sense of the man as a performer. At one time, the Texas Playboys was the number one dance band in the country. Benson said that Grammy producer Pierre Cossette said that Wills had more charisma than anybody else he ever worked with.

In the play, Jason Roberts, who has been playing fiddle with Asleep at the Wheel for about 10 years, plays Bob Wills in his prime. Benson and Roberts talked about and played four songs: a fiddle breakdown, "Ida Red," "Faded Love," and "San Antonio Rose." We got to hear the close family resemblance between the old fiddle tune "Nellie Grey" and "Faded Love." You could hear folks in the audience softly singing along on "Faded Love."

They took questions at the end. I asked where we could hear live Western Swing music between visits from Asleep at the Wheel. Someone mentioned that Tommy Allsup and Leon Rausch would be performing in Muskogee on December 30. I'll have to miss it -- we expect to be performing "Bottle Baby Boogie" around our house about then -- but it should be great. Rausch sang with Wills and played bass fiddle in the latter part of Wills' career, and Allsup produced and played bass on the album "For the Last Time." Benson mentioned that there was a Western Swing newsletter -- he probably meant this one. (Afterwards I met a couple with the band Cow Jazz -- they're based and do their performing in the DFW area.) Wooley reminded us that he has a show every Saturday night at 7 p.m. on KWGS 89.5, called "Swing on This."

My daughter got to shake hands with Jason Roberts, who said he had a little girl about her age, and she got her picture taken with Jason and with Ray Benson. (UPDATE: I've added photos, after the jump.)

(UPDATE 2022/01/07: Rereading this now I remember something I'm surprised I failed to mention. Margaret Crownover, widow of steel guitarist Gene Crownover, was in the audience and spoke during the Q&A. Gene worked with Bob Wills during his final decade or so, including the reunion sessions with Tommy Duncan for Liberty Records and Bob's Nashville recording sessions with Kapp Records. Ray recognized her and someone -- Ray, I think -- recalled that she wrote a song that Bob Wills recorded in 1969, with Tagg Lambert on vocals: "Look What Trouble Left Behind.")

As we emerged from the PAC, schoolkids were beginning to line the street for the Veterans' Day parade. I wish a lot of them had been inside to hear the music and learn about part of Oklahoma's musical heritage, the music that helped their great-grandparents keep smiling through hard times.

Benson was on KFAQ with DelGiorno this morning, broadcasting over the "sacred frequency" that carried Bob and Johnnie Lee Wills for many years. They talked about the lack of a Western Swing Hall of Fame, something that belongs in Tulsa. (For reasons I don't understand, no Western Swing artist has ever been inducted into the Oklahoma Jazz Hall of Fame.) The presence of such a facility would be a draw for a niche tourist market -- attractive to a small but intense fan base. There would be good synergy between Western Swing tourism and Route 66 tourism -- transplanted Okies provided a fan base for the music in 1940s California. And a Western Swing museum would be a resource to get the music into the schools, where it could be introduced in the context of Oklahoma history and modern musical history.

I'm glad the PAC set the program up, but I wish more people had gotten the word. There was plenty of space for more, but because they mentioned limited seating and the need to call ahead to reserve a seat, I had the impression it was a much smaller room and would fill up quickly, an impression reinforced when I called Thursday to reserve seats and was told that there were only a few left. I would have spread the word if I'd known the room was so big.

It was a nice start to a day that ended with family, a cake, candles, ice cream, and two CDs: "For the Last Time" and "Tiffany Transcriptions No. 2."