Tuscaloosa
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Amalia K. Amaki
In her third book with Arcadia Publishing (her second about Tuscaloosa), former Alabama professor Amalia K. Amaki teamed with Professor Emeritus Priscilla N. Davis to gather images from archives, scrapbooks, photographic collections, and various other sources to create this pictorial account of life in the city from 1960 through today.
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Tuscaloosa - Amalia K. Amaki
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INTRODUCTION
Tuscaloosa plays a leadership role in the state, particularly in west Alabama, and the University of Alabama rests at the core of the identity of the city. The institution’s sports legacy, history relative to civil rights, impact on local economy, and significance in terms of defining the nature and quality of higher education in the state confirm its critical inseparability from the location. While the city continues to be a center for education, sports, employment, recreation, entertainment, and shopping, it can also be defined by the communities of people whose personal stories and actions function as microcosms of life elsewhere. When Gov. George Wallace vowed segregation forever
and stood in front of the entrance to Foster Auditorium in 1963, Tuscaloosa became the focus of the nation and other parts of the world. His act became a fixture in the history of the city and the university. At the same time, Buford Boone, editor of the Tuscaloosa News, spoke of the inevitability of integration and against acts of violence and omission, putting his career and personal safety at risk until he retired in 1974. The June 9, 1964, police beatings and tear-gassing of marchers gathered at the First Avenue Baptist Church, called Bloody Tuesday,
left 34 people injured and 94 arrested, including Rev. T.Y. Rogers Jr. The push led by Rogers continued, resulting in a federal judge ordering the removal of offensive signs from the county courthouse on June 26.
By 1965, Alabama’s football team had won three national championships (1961, 1964, and 1965) and four Southeastern Conference Championships, had two undefeated seasons, and six bowl invitations; the second national championship came six months after Bloody Tuesday. The groundwork for Paul Bear
Bryant’s legacy as an iconic head coach was established, and Alabama football was entrenched in the cultural fiber of Tuscaloosa. Hotels, restaurants, shops, and other visitor-related businesses became attached to the surmounting success of football. Small and family-oriented businesses along University Boulevard near campus gave way to sports bars, nightlife, and stores that appealed more to student clientele.
Houndstooth Sports Bar became an anchor on the strip and a premium hangout spot on game day upon opening in 1990. Sports Illustrated rated it the no. 1 college sports bar. Farther west on University Boulevard, DePalma’s Italian Café opened in a historic bank building downtown in 1995. An upscale dining establishment in a space that retained traces of its original character, DePalma’s owners were at the forefront of moving restaurants and pubs into the downtown area. After 11 years at another site, Chef Alp Yeager relocated Ruan Thai to a house on the edge of the strip. The restaurant drew in more students while bringing in customers that frequented the previous location. Evangeline’s, Epiphany, Venice Italian Fusion, Kozy’s Restaurant, Cypress Inn, Chuck’s Fish, Maggie’s Diner, and Northport’s City Café were among the long, diverse list.
Businessman Jack Westervelt Warner championed 19th- and early 20th-century American art. He collected objects for over 40 years, placing some in his home and installing the majority of works in a museum on company grounds. In recent years, the Tuscaloosa Museum of Art was formed and became home of the Westervelt Collection. Atlanta native Paul Raymond Jones, another businessman, began collecting African American art in the 1950s, when he earned a relatively modest salary and few people were seriously interested in acquiring these works. A major gift to the University of Alabama in 2008 brought representative African American artwork to Tuscaloosa, made accessible to the public at the Paul R. Jones Gallery in rotating exhibitions of selected pieces. Sarah Moody Gallery, Sella-Granata Gallery, and Ferguson Center Art Gallery are also spaces on the university’s campus that present art exhibitions on a regular basis.
What began as the Tuscaloosa Community Players in 1971 grew to become Theater Tuscaloosa, and the company initially negotiated opportunities to do performances at Bama Theater. Eventually, the theater partnered with Shelton State Community College, housed in the Bean-Brown Theater in the Sandra Hall-Ray Fine Arts Center. Bama Theater continued to flourish, hosting additional live shows, as did the university. In 1998, Shelton State and Theatre