Postcards from Erick, OK, Winslow, AZ, and Highland Park, CA - “Sentinels of Route 66”
Anyone who's ever traveled Route 66 will tell you that its greatest resource can be found in the people who live and work along it. Whether diner waitresses or museum volunteers, car mechanics or preservationists, its keepers embody many forms, and all are vital. At the same time, some manage to linger in the memories of those they meet for the fact they have a way of inviting visitors to step inside their worlds. In today's episodes we'll get to know three such sentinels- Erick, Oklahoma's self proclaimed "mediocre music maker," Harley Russell. Arizona rancher, Brantley Baird. And LA based book designer, Amy Inouye. On the surface, they are as different from one another as the locations they inhabit, but are united by the fact their welcome mats are not for mere decoration.
Harley Russell's Sandhills Curiosity Shop is located at 201 S Sheb Wooley St, in Erick, Oklahoma. He does not keep regular hours, but is always worth a knock on the door.
Rock Art Ranch is located outside Winslow, Arizona. Tours must be booked in advance by calling (928) 386-5047. Hours vary in accordance with the seasons.
TRANSCRIPT
(As this transcript was obtained via a computerized service, please forgive any typos, spelling and grammatical errors)
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Evan Stern: (00:00)
It's been months since my Route 66 journey ended, and when asked to name highlights, I often struggle because compiling a greatest hits list seems an unfair exercise. But when I look back on the places I got to see, there are some that stick out in my memory for the fact the owners running them have a way of inviting visitors to step inside their worlds. And today I take pleasure in introducing you to three such people in different states at very different sites who on the surface share little in common, but whose openness is unique. I'm Evan Stern. And this is Vanishing Postcards.
Harley Russell: (01:38)
Get your kicks on Route 66. I tell you for sure. Yeah. I'm not one of the dadgum historians. Patsies, dreamers and wannabees on Route 66. I'm the real deal
Evan Stern: (01:57)
Leaving Oklahoma just six miles before Texas you'll pass through the small dusty town of Erick. A quiet community of 840, driving in a sign announces it as the home of country music hall of famer Roger Miller. Yet when asked about Erick a while back, it's said that Miller jokingly retorted, "Where's that?" Before adding "It's near extinction." And while Erick has managed to hang on, surveying the empty storefronts and crumbling awnings lining downtown's two blocks, I gather not much has changed in the decades since Miller's passing. But turning on South Shelby Wooley Avenue, I find life in the Sandhills Curiosity Shop. Housed in what had been the old meat market, its red brick facade, sides and porch are covered with a barrage of vintage tin signs advertising the likes of Coca-Cola, Texaco and Fisk Tires. A placard outside says open, but the door is locked. Then after a few knocks, the screen flings open, and I find myself face to face with this town's living legend.
Harley Russell: (03:08)
Yeah. Did, did they tell you that I was the meanest biggest bastard on Route 66 and everybody's favorite stop. Did they do that? tell me all about it. What did they say about me?
Evan Stern: (03:21)
Well, they said I couldn't prepare for you.
Harley Russell: (03:24)
I tell you for sure man. You're gonna have to change your underwear by the time I get done with you. a lot of people come over here to see the Grand Canyon. Would you believe that I'm, uh, I top the grand canyon. I can tell you that right now. Yeah. These sons of bitches come in here and tell me I'm their favorite stop all the time.
Evan Stern: (03:46)
That's Harley Russell. An overall clad rhythm guitarist with a Rip Van Winkle beard and long gray hair, having sized me up, he waves me in with a flash of his jagged smoke stained grin. Immediately, I'm surrounded by even more signs, world flags, a collection of guitar shelves and display cases exploding with an avalanche of nonsensical memorabilia. Without much introduction, and before having time to comment, he flips on an amp and treats me to an impromptu jam session before taking a puff off a bong and informing me of this town's other title.
Harley Russell: (04:23)
Oh, Erick, Oklahoma is, uh, the Redneck Capital of the World. Uh, uh, and I've got it all sewed up. Yeah. This is where you can come and see rednecks work and play in their own environment. I call it insanity at its finest. And, uh, you know, you might know you're a redneck. If you can, uh, pick your nose and smell under your armpit at the same time. And if you can stick your finger up your ass while you're doing it, you might know you're a pervert as well. In this town, me and my wife both have been shot at, turned into every agency that would get you closed down, shut down, in trouble, out of town, 365 days of internet bullying, 24 7 vandalism and the whole nine yards. So that's a long story. I'm probably the most hated person in, in this town by the locals.
Evan Stern: (05:15)
But I guess though, if, uh, but what keeps you here in Erick?
Harley Russell: (05:18)
If, well, I make a good living here and I was born here in 1945 and, uh, I make a, I make a good living here. I, I wor I went to work for myself when I was 12 years old and I've never worked for anybody in my life. In other words, I'm a genius.
Evan Stern: (05:38)
Harley might not have worked for anyone else, but he tells me he certainly worked with plenty of others.
Harley Russell: (05:45)
Oh, I played with so many people you wouldn't ever even begin to know them. And the people that I've, uh, worked for and played with that were, uh, notable, uh, uh, are all dead. Uh, you probably never heard of them. They were probably dead before you were born. Charley Pride was one of them. Uh, Dale Reeves was another one. Dottie West was another one. There's a gob of them, but I, I, uh, I didn't like working for 'em because, uh, they, uh, they didn't want me to drink or smoke weed on the bandstand. And, uh, I couldn't make out with any of the married women as well. Uh, had I had to stay, uh, you know, keep everything real close to the cuff. So I started, I started having a good time and, and, and went into the honky tonks where I could really have a good time. And, uh, and I've got about as close as I can get to it right here in this joint. And I do use that word loosely. Uh, you don't mind if I smoke weed, do you, while I'm doing this interview?
Evan Stern: (06:49)
This joint he's referencing is again the Sandhill Curiosity Shop. And what makes it especially curious, is that not a single item surrounding us is available for purchase.
Evan Stern: (07:02)
But, um, you call it a shop, but nothing is for sale.
Harley Russell: (07:05)
Not a thing is for sale. This is a set.
Evan Stern: (07:08)
How do you, how do you make your living here then?
Harley Russell: (07:10)
Well, uh, people just come in to visit with, with me. I have people come in here that walk around for five minutes and throw a hundred dollars bill in my tip jar. So I don't, I, I don't need to sell anything. I've got, I've got an actual program that, that I can do if I want to. I usually do it for tour groups. And if people drop enough money in my tip jars, I'll, uh, do something with my guitar. I'm not your standard, uh, postcard stop,
Evan Stern: (07:43)
Nothing about Harley or his world is standard. And I trust he'd bristle. If anyone were to compare this space to a museum, no. All the Bric a brac in this overstuffed Emporium, he repeatedly tells me is his set, which provides a backdrop for the antics he performs through what he's titled his "mediocre music makers" program. And he says that everything I see and experience here is the result of a vision he shared with his beloved soulmate and fourth wife, Annabelle, whose pictures he readily shares with me.
Harley Russell: (08:12)
We, uh, barely were able to survive for like 14 years. We did have a lot of love and the P's grocery store threw away a lot of good groceries in the dumpster, which we could see from our redneck castle, what is called the redneck castle slash Sanitarium. Now we had, we, we built our set as, uh, money and time allowed us. And, uh, I told Annabelle several times as far back as over 20 years ago, I said, honey, I think we got something going here. And we did.
Evan Stern: (08:50)
Harley still accepts visitors and plays when he feels like it. But the music has maybe been a touch softer since cancer took Annabelle in 2014.
Harley Russell: (09:00)
Uh, Annabelle is probably the most talented individual that I've ever known. She played guitar. Uh, she was a very, uh, skillful woman and very, very, uh, patient and very, very, very well enlightened. She passed away. And my mother was like, uh, that, that was three and a half years. Then my mother was like 90. So during the winter, I went to Oklahoma City and stayed with her and she passed away last year. And last year was my first, uh, winter to spend at home in 10 years. Uh, it can be very, very laborsome.
Evan Stern: (09:44)
And I guess if you were to have a conversation with Annabelle today, if you could have a conversation with her today,
Harley Russell: (09:50)
For sure, I would be speechless. Uh, I'm usually not speechless, but if she were here today, uh, I wouldn't be able to tell her how much I miss her. It would be unexplainable because she did so many things that you cannot even comprehend. And I, I, I didn't do a whole lot of anything
Evan Stern: (10:15)
That night. I find an old interview Harley shot in 2009. In it, he says "If something were to happen to Annabelle, I probably wouldn't do much singing or playing. She's someone I would not be interested in living my life without." Even without having heard this, right now there are a lot of questions I want to ask him. What keeps you going? What advice do you have for others who are facing grief? But at this very moment, we're suddenly interrupted by some new arrivals at his door.
Harley Russell: (10:50)
Uh, that was an old fart. And his wife. It looked like she was about 150 pounds overweight. Okay. Uh, I don't wanna be around them. Do you? Hell no. Uh, see, thank God I, I, I can put a lock on my door
Evan Stern: (11:11)
With that, the mood has shifted. He's back in jokester form and I choose not to dwell on absence. He tells me about his meditation practice and offers suggestions for coping, with what he calls psychic vampires. Yet. eventually I have to ask him the obvious..... But what happens to all of this when you're gone?
Harley Russell: (11:32)
Uh, that's a good question. I have no idea. Uh, what I, uh, uh, hope to be able to do is turn it over to someone that wants to keep it going and, uh, continue the legacy that me and my wife, uh, strived and worked so hard and put out our blood, sweat and tears for, for so many years to become what it has become and to not continue, uh, would be a sad thing.
Evan Stern: (12:02)
What, what is this place without you Harley?
Harley Russell: (12:05)
Uh, I'll tell you for sure. Without me, you don't have Jack in Erick, Oklahoma, except a memory of, uh, Roger Miller growing up here and being from here and Sheb Wooley and that amounts to dick shit.
Evan Stern: (12:19)
Some things in life, far, irreplaceable, Harley, and his Sandhills Curiosity Shop just happen to be one of those things. And I'm grateful he decided it was okay to unlock his door. For me, having spent an hour and a half together. I still can't say I know him well, nor have I caught much insight regarding what makes him tick. What I do know is that it would be a gross mistake and terrible underestimation to write him off as a crazy. He's a man who marches to his own beat and has figured out how to make things work on his own terms. I also think he's a bit more hippie than redneck, but then again, title shouldn't define him period. Wary of being on the road after dark, I thank him for his time, empty my wallet of cash and drop it in his jar. But before leaving, he treats me to one final performance.
Harley Russell: (13:14)
My goodness sake, I can't believe what's going on in here today. We've got this dad, gum wild man, Ethan out here. He's doing postcards of crazy wild places. And today happens to be in the redneck capital of the world. He's coming outta New York. And he's asked me to do a thing called route 66. So I'm gonna do just a little laid back version of get your kicks. On 66,
Harley Russell: (13:41)
(Harley sings Route 66)
Brantley Baird: (16:16)
I'm I'm fine. I thank the good Lord every day. I'm 85. I still can. I still can work and get around and do things, you know, and I thank the good Lord. Worst thing that has happened, I lost my wife about three or four years ago. We've been married 60 years. And that, that hurts you worse than anything, but you just learn to live with these things. There's just another thorn in our side. Yeah.
Evan Stern: (16:40)
Like Harley Russell, Brantley Baird is a widower, but that's where most, if any similarities end-
Brantley Baird: (16:47)
Well, just be busy. You can't sit around that house. You'll go crazy. I got, I come to ranch every day. That is my advice to anybody. You cannot sit in that house and watch TV and do nothing. You'll go plum crazy. You gotta get your butt out and get, find something you like to do that. That's the only advice I could give anybody.
Evan Stern: (17:11)
Busyness is a virtue that's ingrained in Mr. Baird, a tall tanned rancher whose truck, jeans and felt pinch front hat are all faded and caked with dirt. He still rises before dawn each morning to tend his cattle and 5,000 acres of Northern Arizona land. And when he tells me of why his family settled here, I realize I'm speaking with a man who was a true product of the old west.
Brantley Baird: (17:39)
We came here in 48. We come off a ranch up by Show Low. And, uh, my brother and I, I was five and he was seven. We rode a horse, five miles bare back into Show Low and went to school, brick schoolhouse. And back then we had a lot more snow and weather than we do now. We couldn't get to school in the wintertime. So we ended up down here on this whole ranch. We're about another thousand feet lower. And so it was, was a little easier to get to school here. So that's the reason we ended up here and that was in the forties about 48.
Evan Stern: (18:17)
He now calls this land, Rock Art Ranch, and I find it by detouring off '66 on a bumpy gravel back road, outside Winslow. Considering I was driving my dad's 2012 Lexus, it may very well be a miracle I made it there and back without popping an axle. That said, the journey was a risk well worth taking as Mr. Baird's property, which he and his granddaughter open to visitors by reservation ranks amongst the most unique sites I've visited in any of my travels.
Brantley Baird: (18:50)
But our Indian artifacts. We've had people here from The Heard Museum, Smithsonian Institute, from all over the world. We've got as good, a, a, a good of, uh, artifacts display as you'll see anywhere in the United States. Uh,
Evan Stern: (19:05)
We're standing in a gallery space, Mr. Baird built in a barn and he's showing the display of antiquities that rival any museum collection. I've seen clay pots, spoons, pipes, and VAs, all pristinely decorated with animals, geometric patterns, and occasional human faces. These centuries old objects were found here many by baed himself, but there're only a taste of the treasures that rock art ranch offers. And after introductions, I follow Mr. Baird to a ridge where ceramic charges litter the ground surrounding a shed, protecting the remains of an Anasazi Pueblo.
Brantley Baird: (19:43)
But you can always tell, like I said, where they live just by, just by the, by the broken piece of pottery and the old, the old monos, the mats and stuff. This is where they lived. They figure three families lived here. There's probably several of these on this Ridge.
Evan Stern: (20:03)
He informs me archeologists estimate this settlement dates to the 1500s. But while impressive, these ruins only represent a fraction of the Ranch's history. As indications suggest nomadic hunters, gatherers, and farmers have marked this terrain for over 9,000 years.
Harley Russell: (20:22)
We have it on the national register of historical places. And, uh, they claim some of the petroglyphs in the canyon are 7,500 to 6,000 BC. That's like 9,500 years ago. Them people were in this country. But this is just some of the pet- I think they claim 3000 petroglyphs in the canyon is what they claim, who knows
Evan Stern: (20:46)
Amid the Ranch's tumbleweeds and brush sits a canyon whose deep crevice reveals a welcoming Oasis. Mr. Baird points me towards a set of stairs. And after walking down, I'm greeted by green bushes, wildflowers and a crystal clear spring. I roll up my sleeves, splash my face with water. Then look up to realize I'm surrounded by rock carvings. Buffalo. Lizards. Even the scene of a woman giving birth. Everywhere I glance, I see more and catch myself saying, "wow," out loud. Though Mr. Baird says, this is a site he took for granted growing up. Well,
Brantley Baird: (21:21)
I was just a kid, 11 years old. Hell we was skinny dipping over there in the canyon. We wasn't worrying about no, no petroglyphs. I knew they were there. We knew they were there, but we didn't know anything about 'em
Evan Stern: (21:34)
Indeed. While Mr. Baird has come to appreciate this art. He still strikes me as a man who's rarely phased by much.
Harley Russell: (21:41)
I did lose one eye over here. When I was sawing on a board and I did it hit a staple. And that staple went right through my eye. I pulled the dang thing out and looked at it and I shouldn't have done. But, but your eyes is, is, is funny. You have no pain, there's no nerves. You don't know. I rode outta Holbrook the next day. And it got down there off the rim and I got thinking it ain't getting no better. So I better go the doctor and, and I, I never did get my eyesight back. I went through four operations, but that's okay. I still have one good one, but, uh, my health's good. And I've got a lot to be thankful for.
Evan Stern: (22:25)
But while Brantley might only have partial vision, I'd wager he still sees better than most men. As far as I can tell, he's never sought to make a quick buck off of any of the art he's found and have to convince him it's okay to accept my $35 admission. Walking through the canyon, taking in the paintings, birds and lapping Brook, I feel this should be a UNESCO world heritage site and ask why isn't this a park? Then I realize if that were the case, I'd be fighting with mobs for a chance at entry, and likely wouldn't be allowed inside here at all. Instead, I have the sacred joy of experiencing this on my own. And while I'm usually one to worry about preservation trust, the Baird family are appropriate. Caretakers.
Brantley Baird: (23:15)
My granddaughter right now is taking it. Hopefully she'll have some children. And through the years, our grandchildren and great grandchildren will keep this thing going. That's what our hope is for the future. This place, a lot of people say, well, do you own this place? And I tell 'em right off the bat. No, the good Lord owns it. I'm here to take care of it. And as long as I'm around taking care of it, I'm happy. I love the place it's it's man hasn't got in here and screwed everything up yet. But no, uh, it's a, it is a, a beautiful place and we want to keep it that way for our kids, our grandkids, great grandkids. That's what it's all about. It's not mine. It's ours. That's what I tell the people. This is ours.
Evan Stern: (24:02)
Having spent the morning together, Mr. Baird leaves me at the canyon and tells me to take as much time as I like just to close the gate on my way out and give him a call to let him know I'm safe and done. I thank him for his time and generosity. And before leaving, ask if he has anything else he'd like to share. At this, he just looks around, gives me a smile and tells me why he loves calling this place home.
Brantley Baird: (24:28)
And no, it's just a way of life. I'll tell you it's peaceful, quiet way life, but no, our way of life here, our closest neighbor is 17 miles. And just to finish it off, I'll tell you that some days is too close,
Evan Stern: (24:45)
But while Mr. Baird thrives in Arizona's wide open spaces, Scott Piotrowski who heads California's Route 66 association tells me he draws constant energy from LA's diversity and activity.
Scott Piotrowski: (24:59)
You can't get any farther and you don't get any more beautiful than where we are. And I say that and know that some people don't like big crowded places and some people don't like the, the dirt and the grit of a big city. And that's fine. But I mean, I, I, I could just keep going on and I do frequently just keep going on about this city. So
Evan Stern: (25:18)
We're talking on Figueroa where you'll still find a few 66 shields amid the bus stops and traffic along this bustling north south Boulevard. Scott loves this neighborhood for its history, but while there's much to see around here, he seems especially excited to point out a 22 foot tall fiberglass statue on top of a building across the street.
Scott Piotrowski: (25:40)
Chicken Boy is the Western most of the old muffler men. So he was originally on a chicken restaurant in downtown LA on Broadway, a couple of blocks away from the original Terminus of Route 66. What makes him interesting is he's the first one that they broke the mold on. So originally all the muffler men were, you know, they were designed to hold the muffler in their hands and they had the, the same head and everything. Well, for this one, they put a new head on, it was the head of a chicken, and they turned his hand so that instead of holding a muffler, now he had his hands together and, and was holding a bucket of chicken. So I don't want to get into the idea of a chicken boy eating chicken, but that's what we have for the, for the chicken boy, he's become the statue of Liberty of Los Angeles.
Evan Stern: (26:26)
The reason chicken boy has lived to achieve this title is because of Amy Inouye whose building he stands a top. A short, Japanese American book designer with a pixie cut and enthusiastic smile, she welcomes me inside and tells me about how she gravitated towards chicken boy as a newly arrived Angelino.
Amy Inouye: (26:46)
I moved here, you know, very quickly. And I was by myself and I would just kind of get up every morning and drive around. So I'm driving around and I see this statue and he kind of made me feel at home. That is the, the best description that I can give you. Um, in, up in the bay area, there were a couple of similar things like that, and they always made me feel calm. good. You know, gave me a warm and fuzzy that. So I kind of related to him. I think he's just weird enough to identify with. Actually somebody, uh, at one of the events that we had, um, said to me in a very offhanded way, we are all chicken boy. And you know, that kind of, that kind of hit me in the right place. Right. So I think that's kind of, it he's outsider. We all feel like we're outsiders. He's just trying to blend in more like, like all of us, right.
Evan Stern: (27:51)
Feeling protective of this fellow outsider. Amy began calling the restaurant when she learned they'd be closing.
Amy Inouye: (27:57)
So I'd been kind of bugging them. Uh, I'd bugged them just about what was gonna happen to the statue, cuz I didn't want them to dismantle him, throw him away or whatever. I felt like somebody, not me. I really didn't think I was gonna do it. Somebody needed to save him. And I was hoping they would do it, you know? So, um, I was calling them all the time, just, Hey, how you doing? What's happening? Okay. So one day I called them and they said, listen, uh, come and get him . So, so we jumped on that conveyor belt and we just decided we were gonna have fun with it. And uh, we managed to talk all these people into helping us and we went and got him
Evan Stern: (28:43)
Getting him wasn't easy. As his scale required, Amy to rent a crane and assemble a team to assist in removing him at night shortly before the building's demolition,
Amy Inouye: (28:53)
We didn't know what we were gonna do with him. And we also didn't know quite how big he was. Uh, we wanted to give chicken boy to a sculpture garden, museum or whatever. Nobody was taking us up on it. So it became clear that we were gonna have to put him up then. Uh, so we moved into this building when the neighborhood was quite different and decided we're gonna just take care of this ourselves. You know? So put'em up on the building that was 12, 13 years ago now. And he people accepted him right away
Evan Stern: (29:30)
In the years since then, chicken boy has reached iconic status. But while he's become a destination for Instagrammers and dedicated 66 roadies, few have heard of Future Studio, which is the art space, Amy keeps at street level, a gallery that doubles as her working area. During normal times, she hosts installations, performances and community events. What's more, she keeps a nook dedicated to chicken boy paraphernalia and other fun items that might just be the best little gift shop on Route 66.
Amy Inouye: (30:03)
Here's the chicken boy shop-
Amy Inouye: (30:08)
It's little, you know, but I don't have a lot, but I try and keep it fun. So mugs of course, little statue. Um, this is the newest thing, chicken Tiki mug, very limited edition. And here's our latest
Amy Inouye: (30:28)
Art vending machines.
Amy Inouye: (30:33)
Okay. Who doesn't love a vending machine. Right. So, um, okay. I bought this vending machine, um, from a neighbor, meaning that everything that I put in it, I figured had to be $3 or less that's okay. So everything in this one is $3 or less.
Evan Stern: (30:51)
I've never heard of an art vending machine before, but if you ask me getting a small painting or piece of craft is way cooler than a candy bar or bag of chips. And I think this simple idea says a lot about Amy and this space, which she tells me is meant to be accessible.
Amy Inouye: (31:07)
I wanna be a little funky souvenir shop art gallery, that is very affordable, but also where you could just come. I don't want stalkers now, you know, but, but where people could just drop in and hang out and make them a, you give 'em a water, make 'em a cup of coffee and they, we can sit and visit a while. Well, you know, really just say hi. I, I think of, um, sometimes I think of, um, these two brothers, I don't know where they lived, but when they, when they got older, they would sit on their porch and just wave at people. That's, that's kind of what I wanna do. that's, that's what I, that's what I kind of the feeling that I want to give. You know, we don't need deep conversations really just say, hi,
Evan Stern: (32:02)
The actor Dan Stevens once said, "A British porch is a musty forbidding non room. A guard against the elements and strangers. By contrast, the good old American front porch seems to stand for positivity and openness, a platform from which to welcome or wave farewell. A place where things of significance can happen." I'm not sure I see Harley Russell, Brantley Baird and Amy, Inouye sharing the same porch anytime soon. But I know they could because the welcome mats they keep aren't for mere decoration. I may never see any of them again, and they've probably already forgotten me, but I've since revisited them all in my memories many times over and that well that's significant.
