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@appalachianyouth
Please help send this mountain baby to Ireland
Growing up in Clay County, Kentucky, I have experienced your run of the mill, stereotypical mountain life. Anyone from a impoverished area, Appalachia or other, knows how difficult it is to obtain a higher education, let alone have this type of opportunity. Even if you don’t give monetarily, good energies and supports are greatly appreciated.
gofundme.com/72vk6b8k
July 1964 Photo credit: William Gedney — in Big Rock, Kentucky.
Bless you, Dolly
(via)
The Mystery Hole, Ansted, WV
Ever thought of calling when you’ve had a few? ‘Cause I always do
Earl Scruggs and the Generation Gap
Gary Scruggs, Earl Scruggs, Bob Dylan and Randy Scruggs
On Jan. 14, 1967, psychologist and writer Timothy Leary stood before a crowd of thousands at San Francisco’s “Human Be-In” and urged them to, “Turn on, tune in and drop out.”
Later that year, thousands of young people from across the U.S. would converge in San Francisco’s Haight-Ashbury neighborhood in what would become known as the “Summer of Love.” “Hippies” or “Flower Children,” they opposed the Vietnam War, focused on the arts, “expanded” their minds by taking hallucinogens, rejected consumerism and were suspicious of any and all government.
They had their own music, too – bands like Big Brother and the Holding Company with Janis Joplin on lead vocals, Country Joe & the Fish, The Grateful Dead, Blue Cheer, Quicksilver Messenger Service and Jefferson Airplane – backed by psychedelic light shows at popular venues like the Fillmore Auditorium and Avalon Ballroom.
And in the midst of all this, a 43-year-old banjo player from Cleveland County, N.C. – Earl Scruggs.
By the time the counterculture arrived, Scruggs, along with Lester Flatt and all the Foggy Mountain Boys were seasoned vets in the music business.
“The Ballad of Jed Clampett” could be heard every week on television sets across America, the Martha White jingle became a memorable piece of the Grand Ole Opry experience and “The Foggy Mountain Breakdown” had become a Bluegrass standard.
They conquered New York City’s Carnegie Hall, played the Newport Folk Festival and became Bluegrass’ equivalent to rock stars on college campuses throughout America. And on Nov. 30, 1967, The Foggy Mountain Boys found themselves at the very center of America’s counterculture – The Avalon Ballroom, San Francisco, Calif. (Psychedelic light show included).
While Lester Flatt remained true to tradition, telling one reporter, “We’re not about to forget that the core of our fans are people who get up in the morning and bake a lot biscuits,” Earl Scruggs became a father figure to a generation who promised to trust no one over the age of 30.
In 1968, Flatt & Scruggs recorded five Bob Dylan songs on their aptly titled album, “Changin’ Times” and in 1969, Scruggs performed "Foggy Mountain Breakdown” on stage in Washington, D.C. at the Moratorium to End the War in Vietnam.
“I think the people in the South is just as concerned as the people that’s walkin’ the streets here today … I’m sincere about bringing our boys back home. I’m disgusted and in sorrow about the boys we’ve lost over there. And if I could see a good reason to continue, I wouldn’t be here today,” Earl said in an interview following his performance.
The Foggy Mountain Boys disbanded that same year following disagreements between Lester and Earl on a more contemporary sound.
After the split, Scruggs grew his hair out and formed the Earl Scruggs Revue with sons Randy and Gary. The group toured all around and continued breaking new ground, recording songs like Fletwood Mac’s “Landslide” and Motown classics like, “You Really Got a Hold On Me.”
Perhaps Earl Scruggs never had a message quite like Timothy Leary’s at the dawn of the Age of Aquarius, but his music and actions spoke louder than words. Scruggs bridged the gap between old and new and brought Bluegrass music to an audience that otherwise sought little traditionalism.
If Bluegrass music had a royal kingdom, Earl Scruggs would reign as King of Cool.
Remembering Earl Scruggs, Jan. 6, 1924 - March 28, 2012
Call it the American Custard Apple or the West Virginia Banana, but it’s neither apple nor banana. It’s the Paw-paw (Asimina trilob), the largest native fruit of North America, and it grows throughout Appalachia. There are about seven other members of the genus Asimina, all growing in the southeastern U.S. Mature pawpaw trees produce fruits …
Builder Levy, Appalachia, 1970s
There’s a photo talk with Builder Levy and curator Chris Jones at the Ringling tonight. If you live near Sarasota, Florida, this is something you can’t miss.
"Progress in the Mountains,” a Visual Study on Impact and Environment by Textile Artist Susan Feller
“Progress in the Mountains” Full Piece (84 x 27″) Hand Dyed Wool Strips Hooked through Linen Foundation Susan Feller, 2014
“Progress in the Mountains,” Detail, Susan Feller, 2014
“Progress in the Mountains,” Detail, Susan Feller, 2014
“Progress in the Mountains,” Detail, Susan Feller, 2014
“Progress in the Mountains,” Detail, Susan Feller, 2014
“Progress in the Mountains,” Detail, Susan Feller, 2014
“Progress in the Mountains,” Detail, Susan Feller, 2014
“Progress in the Mountains,” Detail, Susan Feller, 2014
“Progress in the Mountains,” Detail, Susan Feller, 2014
Working from her farm-based studio tucked away in the hills of Hampshire County, fiber artist Susan Feller bridges traditional craft techniques and modern experience. She specializes in rughooking, a historical craft that originated from a need to cover wooden floors with fabric that was available. Now, the time honored technique lends itself to modern design, enabling Susan to “paint” compositions using strips of hand-dyed wool, looping one piece at a time through a backing that is spread taught across a frame. Her subjects range from abstract nature studies to methodically planned patterns, but at the root of them all is a love of handiwork and an enjoyment that stems from the tactile differences in her materials. Also important to Susan is embracing the relationship between the functionality of traditional crafts and the pleasing aesthetics achievable through the medium, offering an opportunity for individuals to both see and physically experience her work. Her rugs and runners in particular are made with the intention of being used for generations on the floor, table, or wall, and her visual design choices often proffer a concept that is best experienced through physical use. She invites viewers to walk down a path of her making, or enjoy the translation of nature’s beauty into unique fiber compositions.
More recently, Susan has begun to push her modern craft concept into new territories, imbuing her pleasing aesthetic designs with important messages that are relevant to contemporary society. Such is the case with her piece “Progress in the Mountains,” which is currently on view as a part of Tamarack’s annual “The Best of West Virginia Open Juried Exhibition.” The seven foot long handhooked runner at first offers a beautiful representation of the West Virginia landscape, characterized by a dramatic vertical stacking of mountains, valleys, and roadways. However, the composition is steeped in symbolism, and is a way in which Susan can shed light on the numerable environmental issues that West Virginia residents are faced with every day. The result is a visual study focused on the duality of modern progress – the inevitable give-and-take relationship between the advancement of human industry and natural resource consumption. It is a dynamic that has been present in Appalachia for generations and a reality that forces residents to consider the costs of industrial conquest. On her blog and in her artist statement, Susan delves into the motifs she incorporated into her utilitarian design, giving us a step by step tour of progress’s sliding scale:
The runner was composed to be used on the floor in a hallway, inviting a walk along the road up to the mountain top and turning back down. Or if hung on a wall, the viewer is invited to step onto the road exploring the scenes along the way up to the bright active skyline. It is framed formally emphasizing the artwork within…
1. Envision the impact on geography, environment, culture and community the human drive for progress has had on the natural resources of West Virginia (a micro example of the globe). Major interstate highways create jobs for the construction industry, allow quicker access to towns and destinations for tourism and commerce, but disturb migration paths, feeding and lodging habitat for fauna and flora.
2. Corporate farming in the form of one breed of cattle, poultry buildings for thousands, and processing plants for each creates excess of waste which needs to be distributed by vehicles to wider destinations or processed into a stable by-product.
3. Lumbering of the forests, many of which were contract planted for the pulp or board feet affects the terrain. The undergrowth is necessary to keep erosion from happening, contributing to pollutants in the rivers. Slow traffic from lumber trucks is alleviated with the new highway system.
4. Coal mining strips the tops of mountains to find the veins, moving the waste often into headwaters of small streams which will run into the major river systems. But the coal is used to create electricity for the metropolitan population’s requirements to communicate, work, entertain. The power lines to distribute the energy create wide cuts in direct paths economical for the corporations taking years of negotiating with landowners, environmentalists, historians and politicians but eventually “for the good of the majority” being implemented.
5. Wind turbines line the highest ridge lines feeding the energy generated into those power lines again going out of our state to the metropolitan region. Although a regenerable resource (wind) the effect on birds’ migratory paths is being studied.
In “Progress,” Susan expertly fuses function, beauty, and education, creating a versatile experience for those who see her work. The concept is also a way in which Susan can share her thoughts and feelings in a manner that suits her best, planting seeds for her viewers, hopefully provoking thought and curiosity. “My personality tends toward positive, inclusive, and supportive of our natural resources,” Susan explains. “[While] others use bold statements, visually and verbally, I am more comfortable creating subliminal messages in my artwork and verbalizing my passions…I have heard responses to my work ranging from an immediate smile, to beginning a conversation on environmental issues. If my work raises questions, it has accomplished my goal.”
Susan’s piece will be on view in the David L. Dickirson Fine Arts Gallery until August 9. To learn more about her and her other works, visit her website at http://artwools.com/
More from my day trip.
People like to think that Appalachia is just one big bunch of people who are all the same color, religion, and belief system. But we are diverse. We come from people who were the first in these mountains, the Cherokees, Shawnees, the Crow, the Mingo. We come from the tough Scots-Irish who came to settle it next, and the Italians and Germans who worked and suffered to make their way in the world and the black men and women who were brought here on ships to be slaves and later sent here on trains to work for half-scale down in the mines. We are from the more than 38 nationalities that worked at one single coal mine in Lynch, Kentucky. We are a true melting pot of strong peoples, a culture of immigrants, all joining strengths to become Appalachians.
Silas House (via appalachian-appreciation)
Jean Ritchie's dulcimer was donated to the Loyal Jones Appalachian Center. I'm so honored to be a part of such a wonderful and loving team.
Listen You mountain kid Old woman or man, I would call you back To your heritage …! Must we, too, be lost As America is lost In a thicket of violent greed? Are we too lost to recognize Our own broken image? I would point you back To an uncertain time in history When the values Appalachia gave to the South And America were rooted deep In independence and freedom! At an uncertain time in history When civil war clouds darkened the land Appalachia held a blazing torch On the freedom road …!
Don West (via appalachian-appreciation)
Ms. Ritchie brought hundreds of traditional songs from her native Appalachia to a wide audience and performed with major names in folk music, including Pete Seeger and Doc Watson.
We all owe you, ma’am, thank you for everything.
My vinyl choice for this mid-day. #appalachia #appalachian #music #vinyl #record #instrumental #dulcimer #banjo
Delighted to have 25 Roads Scholars in the gallery today to be educated on issues in Appalachia and challenge Appalachian stereotypes.
