Published to accompany "Justice Not Favor: Alabama Women and the Vote," an exhibition commemorating the centennial of the 19th Amendment. On view at the Alabama Department of Archives and History from August 22, 2021 to May 31, 2022.

For most anglers, catching a world-record fish is something they can only fantasize about. "Maybe," the angler thinks, "I'll get lucky." But if the reason you fish is to catch world-record fish, then luck is only a very small part of it, as Robert Cunningham has learned in the course of a long quest during which he has caught fifty-seven world-record fish, as certified by the International Game Fish Association (IGFA). Cunningham's pursuit of record fish began on the remote and austere Chandeleur Islands off the Louisiana coast, which he reached flying his own seaplane, and where he chased and landed several world-record redfish. Cunningham then moved offshore, where he took record cobia and dolphin on both conventional tackle with a fly rod, and set an astonishing eleven world records in one year. Cunningham has caught record fish in the sloughs of the Mobile River Delta, the interior lakes of the Bahamas, and along tide rips more than one hundred miles offshore in the Gulf of Mexico. He has fought potential world-record fish for eight hours, only to lose them at boatside, and then gone back for more, and along the way, learned all manner of angling skills as well as the ability to shake off the (literal) bad breaks. His account of one angler's obsession is full of humor, disappointment, and triumph.

Based on a lifetime of researching and writing about their home county of Winston, the husband and wife team of Don and Amy Dodd have crafted a unique pictorial retrospective that conveys a serene sense of what it was like to grow up in the hills of Winston. Outlining the highlights of this Appalachian county's history, from its opposition to the Confederacy to its slow evolution from its rustic, rural roots of the mid-nineteenth century, two hundred photographs illustrate a century of hill country culture. A sparsely settled, isolated county of small farms with uncultivated, forested land, most of Winston County was out of the mainstream of Southern life for much of its history. The creation of the Bankhead National Forest preserved almost 200,000 acres of forested land, primarily in Winston, to perpetuate this "stranded frontier" into the post-World War II era. The story setting is scenic--fast-flowing creeks, waterfalls, bluffs, caves, natural bridges, and dense forests--and the characters match the stage--individualistic, rugged pioneers, more than a thousand mentioned by name within these pages. Winston has long resisted change, has held fast to traditional values, and, as seen in this treasured volume, is a place as unique as any other in America.

This is a fascinating inside story about one prolific songwriter’s experience working for the famed Motown Records and directly with Motown’s founder Berry Gordy. It is an interesting look into the actual contracts between Mr. Gordy and his talented “family” of musicians told by one of the most famous songwriters of his time. If Motown didn’t grow to be the success it is today, Motown’s royalty contract—work-for-hire—compensation would be fair under the circumstances. The difficulty comes when Mr. Gordy’s success as a businessman exceeds every possible prediction. The FAME WITHOUT FORTUNE story begins in 1959 with Al Cleveland as a young man who makes the hard choice to leave his wife and children behind in order to chase his dreams of being a singer and a songwriter. It follows him through the trials of New York City and putting up with discrimination on the “Chitlin’ Circuit.” There he has an adulterous affair sending the final blow to his marriage. A short time later, he marries his second wife and Al’s big break seemed to come when he signed up with Motown Records under Berry Gordy. He was writing number-one songs for stars such as Smokey Robinson and Marvin Gaye. All along his fame grew, but he was not receiving pay for them. Instead he received headaches, heartaches, excuses, and IRS raids. He left Motown and toured with famous artists, but during that time, there was little room for a black songwriter to make a living. Al had to return to Motown to stay in the business.