The Bodhisattva of the Bay

The mullet are jumping this summer morning in August. It has not rained in days and the water looks relatively clear, almost green in the early sunlight. I am sitting on a bench under a live oak overlooking Mobile Bay with Jimbo Meador, in front of his house in Point Clear, not far from the hotel. We are drinking coffee and the way these mullet are jumping it’s clear they’ve been drinking it too.

This is the house where Jimbo has lived most of his adult life with his wife, Lynn, and where he raised his two children, Bo and Carolyn. Prior to that it was the house of his wife’s parents. Built in the 1850s, it typifies other coastal cottages of that time period along the Bay with its long galleries and low-form broad roofs which were designed to enhance ventilation in the long, hot summers. It reminds me of another antebellum house along the boardwalk, where I lived one July without air-conditioning at the age of eight, a time punctuated by the sound of a rickety ceiling fan and a black-and-white television tuned constantly to the videos of MTV.

From the bench to the right stands Jimbo’s wharf, where he has cast his fly rod and bait net over the decades and stood sentinel over one of his greatest loves: the Bay. He has seen it change greatly over time. He remembers the days when the water was always clear and seagrass covered its bottoms and gigging flounder with a spear was a daily pastime.

I don’t think there’s anyone who personifies Mobile Bay more than Jimbo. Like those people who seem to blend into the land from which they come and take on its colors and topographical features, Jimbo almost seems to be a natural extension of the water, as much so as a blue heron that melts into the marshes and muddy bottoms of the Delta.

Save for a stint working for Beretta gun company, every job Jimbo’s held has been water-related: shrimping, tug-boat captain, a designer of fishing kayaks, seafood distributor, eco-tour guide in the Delta, the list goes on. 

For some time this certified Master Naturalist has been a sort of spiritual godfather to Mobile Baykeeper, having in recent years developed a keen friendship with our director William Strickland. Jimbo knows the watershed as well as anyone and his memories and knowledge of the Bay and Delta are crucial to draw from as we work to build a better future for our waters.

An icon in the world of fly fishing, Jimbo defies any clichés associated with the “sportsman” or “outdoors-type.” He is a true Southern eccentric: a storyteller and natural-born humorist with a deep interest in Eastern spiritual practices. He has counted among his friends such luminaries as Jimmy Buffett, Guy de la Valdène, Tom McGuane, and Jim Harrison.

Winston Groom dedicated the book Forrest Gump to Jimbo, and it seems Groom’s hero shares more than a few characteristics with our interview subject. Jimbo’s voice was somewhat famously the model for Tom Hanks in the film version of the book. And the fact that we’re sitting here, chatting on a bench under an oak tree hung with Spanish moss is, well, a little uncanny.

As the morning unwinds our talk drifts over a continent of subjects, almost all having to do with the water. What shines through in hearing Jimbo’s tales is his deep sense of spirituality, and the life-affirming quality of his time spent in harmony with our natural world. Our talk only scratches the surface, but there is plenty more where this came from. This fall will see the publication of his long-awaited book, Short Stories From a Life Well-Lived: Stories by & about Jimbo Meador. It can be pre-ordered at JimboMeador.com, and is sure to be a must-read for any lover of the water. 

Until then, we’ll let Jimbo talk.

Early lessons
I was into nature probably more than anybody my age. I had a trapline and I wanted to be a mountain man. I sold furs. I took a correspondence course in taxidermy when I was about ten. I found a mail-order catalogue and I ordered everything I could find about trapping and the outdoors. I was just always fascinated with it. I’ve been blessed with all of that. In fact, the Bible tells us to take care of this—that God created this for us and we should take care of it.

Master naturalist
I took tours up in the Delta for a good while. One time I pulled up in a little bayou, and the lotuses were blooming. I had some women in the boat. We pulled in there and one woman stood up and she said, “There is a God.” I’d take those tours and show people all the vegetation and talk to them about it. I’d show them the invasive species and say, “You know what the worst invasive species is?” And they’d say, “What?” I’d say, “Us.”

The vegetation up there in the Delta is really important. It holds the land, you know. It also supplies a lot of life. People don’t realize how much life there is under the water that they don’t see. I once had some nets made, and I’d take kids up there and let them scoop down in the water and show them all this stuff. I had these little plastic goldfish bowls and we would see all the life that was in there in just one scoop.

And those little bowls I had, I’d let them keep them and watch the stuff and then release it. It said “Catch and Release” on the thing. I’ve forgotten where I got those things. But yeah, kids loved it. And their parents did, too. Parents enjoy seeing their kids enjoy it. But yeah, it’s a pretty unique place.

But this whole Bay—I mean, see how it’s brown? We once had seagrasses all in here. And the seagrass is a habitat for all marine life—crabs and shrimp and all kinds of fish. So we’ve destroyed a whole habitat with muddy water. For example, if I tell people, “If you put a tarpaulin over your grass, without photosynthesis, how’s it going to live?” Well, the Bay’s the same way. Muddy water is a tarpaulin, and as long as the water’s muddy we can’t have vegetation. So it’s like putting a tarpaulin over your garden, you know. You’re not gonna produce much.

Read the rest from CURRENTS (Fall 2026) here. Photo by Courtney Mason.

Jimmy, Jimbo, and the Moon Man 

This issue celebrates three Gulf Coast storytellers, including Jimmy Buffett, an honorary founding board member of Mobile Baykeeper.

Jimmy was born in Pascagoula, grew up in Mobile, and, after having little to no luck in Nashville, went on to chart his own path artistically—forging his own genre of music in the process and spawning an entire cultural movement. He took the Gulf Coast vibe we all know and love and sent it into the stratosphere. 

Buffett was an avid fisherman and conservationist—more so than many realize. He and Jimbo Meador, who appears on our cover, were old compadres—long before Jimmy became famous. Jimbo says Jimmy always wanted to fish in places no one else could get to and the two of them enjoyed angling for bonefish in the Keys and Bahamas over the years. Jimmy even name-checked Meador in the song “Mailbox Money,” where he sings about “gigging big fat flounder with Jimbo,” and declares that it’s one of the few pastimes that actually trumps the massive royalty checks he gets for his music. 

“We started going on those stand-up paddle boards to get in really skinny water that the guides couldn’t go to,” Jimbo tells Sam Wilkes about his fishing adventures with Buffett. “Did that right up to when he died. He loved bonefishing. I fished with him a lot. We used my design with the Ultimate Native kayak first. Because we wanted to get in that really skinny water, or back in those creeks. But anyway, I sure miss him, he was a helluva good friend and you know he never did forget me. I knew him before he got famous. That’s what most people don’t realize, he was down to earth.”

Jimbo is, among other things, known for designing prototypes for fishing kayaks and paddle-boards, and those contributions loom large in the world of fly fishing, where he remains an icon.

Jimbo’s son-in-law Dale Marston tells us that his eldest son inherited as much as he could from his grandfather. But Dale knows his boy did not grow up with what Jimbo had, and the fact that we’ve seen such a precipitous decline in the health of our waters in the span of one generation is a hard truth to confront.

Rounding out our trio of raconteurs is Don Green. A Delta fishing guru, Don holds court in his Saraland tackle shop and spins tales of the old days, back when the fish hauls ran in the hundreds.

The shop is filled with flies Don makes and sells at or below cost. It’s his way of giving back and getting youngsters into the game, as well as a way to impart the infectious joy of fishing. Like Jimbo, Don possesses a lifetime of knowledge on the water that is crucial to learn from as we work to build a better future for our waters. 

Nick Williams interviewed Don for this edition and Don has been a frequent guest on Nick’s podcast for Great Days Outdoors, “The Mobile-Tensaw Delta Fishing Report.” Don was a longtime columnist for Great Days and developed a cult-like following along the way. He is best known for his solunar “moon charts,” which he began making as a young boy, and which appeared in the back pages of the magazine for many years. 

When we greet Don outside his shed, just a stone’s throw from Bayou Sara, he’s wearing a purple t-shirt that says “The Rodfather,” which encapsulates his humor and persona to the hilt. It was a meaningful shoot for our photographer Courtney Mason, as Don is her grandfather. She grew up with weekend fish fries and a lot of tall tales around the dinner table. Most importantly, Don taught her about respecting the earth and living in balance with nature, and how, if that rule is followed, everything else will take care of itself.

Jimmy, Jimbo, and Don are engrossing storytellers, and their stories are more than entertainment. They are records of a watershed that has changed irrevocably in their lifetimes. What we take from those stories is up to us.

—Editor’s note, CURRENTS (Fall 2026). Photo by Courtney Mason

Steve Earle, The Revolution Starts Now (Q&A)

How does this album exactly define the word “revolution”?
 
The Revolution starts now in that it starts as soon as you wake up and realize that it’s been going on with or without you, and that your input is needed. I’m not a believer in violent revolution, but only because a lot of people learned that for me, that came before me. I don’t blame the shape the country’s in on them –I blame it on us. I blame it on people that think like I do that went to sleep, that became less involved. And I think the part of it that people have a hard time getting through their heads is there’s never going to be a time that we can coast. Our brand of democracy just doesn’t –and I’m not sure any brand of democracy- lends itself to that. Ours definitely doesn’t. I don’t really have a problem with conservatives –I don’t agree with them. But these guys that are in power right now aren’t conservatives, you know, they’re neocons, which aren’t conservatives. What scares me more than anything else right now is we’ve got liberals that are afraid to call themselves liberals, and conservatives who won’t say out loud that this guy isn’t a conservative and he’s running the country into the ground, because he’s not [a conservative]. These are not conservative policies. I voted for Bill Clinton twice, the only Republican that I ever voted for. And he was a lot more conservative than Bush ever thought about being, with most of the thing conservatives are normally worried about.
 
In the liner notes, you used the word “immediate” to describe the atmosphere surrounding the recording of the new album. Is this an album just for these times, or is it meant to reverberate beyond that?
 
Some of it is just for this second, but some of it is not. I think “The Revolution Starts Now” is for all times. And I think Rich Man’s War could be about any war. It’s about three wars that are going on right now.
 
It takes an interesting turn with that last verse.
 
Yeah, well the deal is the people who sit around and decide it’s time for us to go to war very rarely get shot at, and I think that’s part of the problem.
 
Is it harder for artists to speak out and be heard now than it was, say, during the Vietnam era?
 
Well, we’re just living through this weird little pocket of time we’re somebody came up with this bizarre idea that it wasn’t appropriate for artists to comment on the society that they live in. That’s a new idea.
 
Mark Twain said the artists are the true patriots.
 
That’s it. That’s what Kerry meant when he was speaking before all those artists and said, “you are the heart and soul of America.” It probably wasn’t his best way to phrase it, but that’s what he meant. We’re people, you know, and a lot of us come from pretty humble backgrounds. And I come from a moderately humble background. My dad was an air-traffic controller and a GS-13 when he retired. We were comfortable but there were five kids.
 
You’ve started to write poetry and prose over the last few years, as well as paint and act. Has working in these mediums had any effect on your development as songwriter?
 
Oh yeah, I think “Warrior” would have been completely impossible without my involvement in theater. It would never have occurred to me to write a spoken-word piece in iambic pentameter if I had not been heavily involved in theater for the last five years.
 
Who are you trying to reach with the new album? I think it’s pretty safe to say that the people who have bought your other albums will buy this one as well.
 
Yeah, they will. I’m trying to reach the people that have been quiet and aren’t O.K. with what’s going on. They know something’s wrong, but haven’t been comfortable with saying something about it. I think that’s happening and that people are starting to look for something. The reaction to this record so far has been so overwhelmingly positive. It’s very early but it’s much different than when Jerusalem came out. I had the usual squawkers [with Jerusalem]–the people I was trying to piss off, and they responded the way that they normally do.
 
And that was mostly just because of John Walker’s Blues.

 
Yeah, and with this one I even got a four-star review in the New York Post, which kind of concerns me. My one-star review for Jerusalem [in the N.Y. Post] is one of my prouder moments. It’s been much easier to get [this album] on radio so far. It’s the second day out, we’re number five at Amazon, and that’s a pretty good indicator for me. I’m an adult artist, so I sell records at Barnes & Nobles and Amazon and Borders –those are my biggest retail outlets. I think I’m hoping to reach people that are not necessarily hard-core progressives but are starting to realize they got lied to. It’s regular people that will go and die if we keep pursuing this policy we’re pursuing. And it won’t end in Iraq. It’s not designed to end in Iraq. It’s really insane. They’re talking about us never not having troops in harm’s way. That’s what they want, and it’s not their kids.
 
Truman said Korea was going to be a police action over the weekend.
 
Yeah, and we’re still there.
 
You’ve helped a lot of young bands and artists get their start with E-squared. I’m thinking specifically of Marah and the V-Roys. Was that a way of doing the same kind of thing Townes and Guy did for you?
 
Yeah, producing records and signing bands like that was a teaching process. I like to teach – I do sometimes. But I try to approach that [producing] as a teacher. And some people are more teachable than others, and sometimes it’s a better experience than others.
 
Any advice for aspiring young songwriters?
 
It’s tough nowadays. Always be willing to do the work, but always be suspicious of anything anytime anybody asks you to change the art itself, because probably the people that are asking you have never made art before. Especially if someone who has never made any art before tells you how to make art, you should definitely process that information very, very carefully.
 
Would this album have come out differently had you spent more time writing songs and recording in the studio, or do you like the sense of urgency it has?

It would have been different and it probably wouldn’t have been as urgent. I think it was made exactly the way it needed to be made and I’m pretty proud of it.

(American Songwriter, 2004)