If you’re in Tuscaloosa between now and the end of December this year and you’re walking by Woods Quad on the Alabama campus, you’ll stumble upon a sculpture created by graduate student Joe McCreary (who just so happens to work as the metal arts education coordinator at Sloss Furnaces). The piece, named Goldie has a serious purpose to it though, according to the post on Alabama’s faculty/staff blog – dialog:
“Goldie symbolizes the closing of Birmingham’s Sloss Furnaces in 1972 and America’s passage into the post-industrial era. The robot is not so much dead or sleeping as turned off.”
Now there’s a photo of Goldie on the site, but we were wondering if someone wouldn’t mind scoring one for our use – in exchange for a white Terminal T of course. Drop us an email with the file or link if you’re interested.
A range of emotions for City Stages
We’re still finding more conversations and blog posts to add to our list involving the demise of Birmingham’s 21-year old music festival, City Stages:
Dennis Pillion followed up his initial post on his blog about what the festival meant to him with what can best be described as an investigative piece about how the festival ended up where it did.
Secret History Productions shared this post on MySpace that seemed to bring out opinions as well both for and against the idea of music festivals in general.
Mary Jean Baker LaMay was a long time volunteer for the festival (and continues to be a friend to this website) who decided to share her thoughts about what the festival meant to her via yesterday’s editorial pages of The Birmingham News.
For some more nostalgia, why not check out BhamWiki’s gallery of City Stages posters (and submit photos of the others to them if you can).
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Posted in music
Tagged AL, Alabama, B'ham, Birmingham, City Stages, closure, Commentary, Dennis Pillion, Festival, follow-up, information, opinion, update