For Fred and Connie--musical legends in their own time

I wrote this for an early blog called The Hob Nob, named for the infamous bohemian cafe across the street from North Texas State University (now the University of North Texas) where all the music and artsy folks hung out. The story was meant to be an introduction for a series of vignettes about what college was like for a group of friends in the early 1960's, but somehow I never got around to the Denton part of the series.

The Hob Nob--A Prequel

Commerce Texas, December 1962. All Senior Honor Band at East Texas State Teachers College--Connie Seidel, Fred Tackett, me, and I was told later, Bill Clinton. The first three would continue on to ETSTC, later ETSU, now TAMU at Commerce, and into the pages of history. Bill... well, he has his own special place. It's a good thing he went into politics--his saxual talents didn't seem to raise a blip in my consciousness. On the other hand, Connie and Fred's musicianship blew...me...away...

On that day, I met a future husband, and two of the very best friends--both fabulous musicians and composers--and truly wonderful people I have ever had the privilege of knowing. We remain close to this day, and I thank whatever wise stars brought us together in that sleepy, backwater, conservative, teacher's college town. A town where, every Saturday morning, they forked hay onto the downtown square for a lazy livestock auction. During our two years at ET, the three of us were inseparable. Literally.

Commerce is the buckle of the Bible Belt and as this was the Pleistocene Era, I was required to live in the dorms. Connie and Fred, however, got to room with two other male music majors off campus. When we weren't in class or rehearsals, I would sneak over to their apartment until curfew, which was 9:00 p.m. school nights, and midnight Friday and Saturday. Grim-faced matrons, charged with protecting the virginity of their young charges against all odds, locked the door at the stroke of 9 or 12, and if you weren't inside, you were invited to the Dean's office the very next morning.

7:30 every morning found us in attendance for the required Music Theory I, II, III and IV classes. We were seated alphabetically, therefore we dominated the back row--Seidel, Snowden, Tackett--the Three Museketeers.

The professor for the ear training part of MT would play long chord progressions, wildly modulating in and out of major, minor, diminished keys, being especially careful to avoid the traditional cycle of fifths. After what seemed like hours, he would come to an abrupt halt, fling his hands up from the keyboard in a grand flourish, and dramatically demand, "WHAT KEY AM I IN?"

By that time, our classmates' eyes would be spinning, holding their heads looking ready to throw up. Connie and Fred would snigger, point to me, and I'd nail it every time. After three semesters of this, the poor prof had begun to cringe when he reached that particular exercise. After we returned from Christmas holidays the spring of '65, he was openly snarling at me, and relocated the three of us as far apart as was possible. Even that couldn't stop us. Somewhere between spring break and finals, he gave up altogether.

We even attended the same non-music Honors classes together--tromping from the Music Building to far-flung reaches of the campus, reconvening at the MB for endless, myriad ensemble rehearsals, jazz jams, lessons, practice room shenanigans, concerts, juries, and mandatory concert attendance to show solidarity for our fellow musicians.

Each fall, from 3:30-5:30 p.m. daily, would find us "guiding right" on the practice field, rain, sleet, triple digit heat, getting that half-time show together. In those days, schools could afford to take the marching band to every game. No flag or rifle corps, no Janet/Justin leave-nothing-to-the-imagination MTV extravaganza, just precision 8-to-5 or 6-5 military marching, heavy on discipline and standard repertoire.

The director would exhort us to snap off our right turns "I want to see white shoes SPARKLE on those yard lines!" We accommodated by muttering "sparkle, sparkle" while pivoting in exact 90 degree boxes. What began as a murmur built to a war chant--"SPARKLE, SPARKLE." We did have one of the best musical organizations in the state, I have to admit.

As much fun as we had, and as excellent as our conservatory-style musical training was, we always felt there was greener grass just over the hill. Over several hills--60 miles to the west, to be exact. Since we were underage, Connie used his prodigious artistic abilities to "rearrange" his driver's license and finagle a marriage license. We walked into the first church we could find in McKinney and convinced the pastor to marry us on the spot, and took that giant 60-mile step to Denton, the North Texas State U Music Department, Library, and the Hob Nob.

From that point on, our lives pretty much exploded...Fred side-stepped to Oklahoma City to finish his degree, work with the monster sax player Joe Laine Davis, and later with practically every musician known to man--Jimmy Webb, Bob Dylan, Bonnie Raitt, et al. Fred currently performs with Little Feat, touring between gigs as a duo with Paul Barrere, Feat's other legendary guitarist. (Check out Fred's son, Miles Om Tackett and his group breakestra--way cool)

Denton, here we come!

Fried Okra Productions--what it means

Several folks have asked me why I chose the title Fried Okra Productions. There are two parts to the story.

My maternal grandparents had a great deal to do with instilling independence and self-reliance in their granddaughters. My grandfather came from a farming community in North Texas, and my grandmother's father was a school teacher and wood cutter in Arkansas. I learned how to cook from hanging with my Mamaw in her kitchen in Greenville, Texas.

Papaw always had a kitchen garden, plowing and planting the right-of-way situated between their house and the railroad tracks. Every year they grew squash, tomatoes, cucumbers, okra, peppers of all kinds, onions, and lots of other yummy veggies. Mamaw put up much of the food, shelving it in a little storeroom Papaw built especially for that purpose off the kitchen. Her piccalilli was the best in the state.

She did use recipes, but frequently measured dry ingredients with her hand: a handful of flour was about one cup, and the depression in the palm of your hand was about one teaspoon. That's how I learned how to make cornbread. A handful of flour, one of cornmeal, a teaspoon each of salt and sugar, two to four teaspoons of baking powder, one egg, and a cup or so of "sweet milk," as opposed to buttermilk.

The oven would be preheated to 350 degrees, and some sort of shortening or fat would be in the baking dish in the oven heating while the ingredients were being mixed. When she was ready to pop it into the oven, she would take out the baking pan, pour the grease into the mixture, stir, and pour all back in the pan. At about 20 minutes, she would stick a kitchen knife (not sharp) into the middle of the pan, and if it came out clean, it meant it was ready. If some of the batter stuck to the knife, it needed another 10 minutes or so. At that temperature, the color of the crust was a pretty good indication of doneness. I also learned that when it was cooked, the loaf would pull away slightly from the pan.

My favorite dish was Mamaw's fried okra. Mamaw's was always delicious. The okra had to be fresh and whole. She would prepare a plate or small paper bag with cornmeal and a bit of salt. Then she would cut the stem end off, and slice the pod crosswise into bite-sized morsels. Grease would be heating in a cast iron skillet, and she would cut and shake only enough for one layer in the skillet at a time.

The okra would be turned from time to time to brown crisply and evenly, then scooped onto a paper towel to absorb the excess grease. These crunchy little nuggets had a nutty flavor, and I adored them. These days, it's usually pre-breaded, using flour, and not especially noteworthy. Nothing like the "real" thing.

Mamaw's fried okra, along with Papaw's fried squash, which was prepared similarly, were the mainstays of summer meals. A typical "Mamaw supper" was fresh black-eyed peas, cornbread, collard greens, green scallions, and fried okra. For dessert, we'd crumble a piece of cornbread into a glass of sweet milk. Healthy and scrumptious.

The love and good eating made a lasting impression. I still cook using my hands to measure. That's the first part of the story.

The second part is a relatively recent adventure. Fred Tackett, musician/composer extraordinaire, who is now part of the legendary Little Feat, introduced me to the original group back when they first got started. Over the years, I've come to know and love the other band members. At one of their Austin concerts, I learned that drummer Richie Hayward's son, Severn, who was also Fred's son's best friend, had sustained extensive traumatic brain injury (TBI) in a horrific auto accident, and that they were having a difficult time getting the therapy he needed to function.

As fate would have it, my brother in law is heavily involved with the Brain Injury Association of Texas, or BIATx, and proposed combining the two groups to benefit both Sev and BIATx. The idea was accepted, and we formed Fried Okra Productions to manage the endeavor.

Things were proceeding apace when I suffered a f2f meeting with a concrete garage floor, which resulted in a broken arm, two sprained wrists, and a torn ACL in my good knee. That put me out of commission for quite some time, and the collaboration has been on hold ever since. I would love to get the benefit going again, but it will take more time and energy than I can spare at the moment.

Not to let a good title go to waste, I decided it would be appropriate for my blog. Now, if I can just find a good photo of fried okra prepared properly...