High Mounts Rising chapters 8, 9, 10

clinch mountain

virginia

wallace harney

was the first to assert otherness which made the mountain portions of the eight southern states a desecrate region in but not of america

cecil sharp

was the founding father of the folklore revival in England in the early 20th century, and many of England's traditional dances and music owe their continuing existence to his work in recording and publishing them. discovered that the ballad was a living tradition undergoing constant recreation; believed that the ballad was a part of culture that was in danger and needed to be preserved (folklore researchers who traveled through the Appalachians; first real folklore researchers in the US)

mary noailles murfree

wrote popular short stories and novels about the mountain people of eastern Tennessee at the end of Reconstruction, wrote popular short stories and novels about the mountain people of the eastern Tennessee who lived in the mountains of eastern Tennessee.Mary Noailles Murfree (January 24, 1850 - July 31, 1922) was an American fiction writer of novels and short stories who wrote under the pen name Charles Egbert Craddock.[2] She is considered by many to be Appalachia's first significant female writer and her work a necessity for the study of Appalachian literature, although a number of characters in her work reinforce negative stereotypes about the region. She has been favorably compared to Bret Harte and Sarah Orne Jewett, creating post-Civil War American local-color literature. The town of Murfreesboro, Tennessee, is named after Murfree's great-grandfather Colonel Hardy Murfree, who fought in the Revolutionary War. Murfree was born on her family's cotton plantation, Grantland, near Murfreesboro, Tennessee, a location later celebrated in her novel, Where the Battle was Fought and in the town named after her great-grandfather, Colonel Hardy Murfree.[3] Murfree would spend her summers in Beersheba Springs.[4] By the 1870s she had begun writing stories for Appleton's Journal under the penname of "Charles Egbert Craddock" and by 1878 she was contributing to the Atlantic Monthly. It was not until seven years later, in May 1885, that Murfree divulged that she was Charles Egbert Craddock to Thomas Bailey Aldrich, an editor at the Atlantic Monthly.[citation needed] Murfree visited the Montvale Springs resort near Knoxville, from 1886. Although she became known for the realism of her accounts, in fact she was from a wealthy family and would have had little common and contact with applachians, she spent summers in a mountain resort ., not the smokey mountains. had characters speak in dialect, spread stereotypes to a national audience. through literature.

folklife

traditional way of life shared by peasant and ethnic communities a communities special music, stories, arts and crafts another name for traditional culture

arthel doc watson

...thel Lane "Doc" Watson influenced generations of country, folk and bluegrass artists with his flatpicking approach to the guitar. Watson went blind at age one following an eye infection and quickly grew immersed in music thanks to his parents, who performed in the local church choir and sang secular and religious songs. By the age of five, Watson was playing the banjo and harmonica, and by 1953 he was playing electric for a local country swing band. Watson's solo career took off following a performance at the Newport Folk Festival in 1963, as folk music was developing into a cultural phenomenon; he released his solo debut, Doc Watson and Family, that same year. Watson won seven Grammys and received the Recording Academy's Lifetime Achievement award in 2004. In 1997, then-President Bill Clinton presented Watson with the National Medal for the Arts, in recognition of his significant impact on national heritage music. Watson spent 15 years recording and performing music with his son Merle, who died tragically in a tractor accident in 1985, at 36 years old. Watson went on to found MerleFest, an annual acoustic music gathering held in Wilkesboro, North Carolina. The festival has become a destination event and pilgrimage for musicians as well as fans of Americana.

stereotype

A generalization about a group of people in which certain traits are assigned to virtually all members of the group, regardless of actual variation among the members. A simplified and standardized conception or image invested with special meaning and held in common by members of a group we take characteristics from a few individual and attribute them to a large group of people. Every stereotype some truth but when generalize to a whole group it is a a problem

all I got's gone earnest Stoneman

All I Gots Gone" is about someone moving from rural life into the city to seek fortune. This version is by Lee Hunter.LL I GOT'S GONE I'm gonna sing you a brand new song She's a dandy sure as you're born All these things just a-runnin' in a rhyme Things (are) all right considerin' these times But all I got's gone, all I got's gone Whole lot of people own nice little farms Doin' pretty well, didn't do no harm Sold their farm, bought an auto or two Note(s) come due they had to skid-doo All they got's gone, all they got's gone Whole lot of people bought automobiles Didn't know how they's a-gonna feel Rode around so grand and proud Note's come due, couldn't pay it out All they got's gone, all they got's gone I went to the bank to borrow some money I tell you right now, didn't find it funny The banker said he had none to loan Get your old hat and pull out home For all we got's gone, all we got's gone Whole lot of farmers want to ride and plough Had to buy a tractor to find out how When they broke a piece them poor white fools Better kept walkin' and a-ploughin' them mules For all they got's gone, all they got's gone Country dudes are ridin' in cars Tailor-made suits and smokin' cigars Runnin' to the barbershop, primpin' and a-rubbin' But you right now they're ploughin' and a-grubbin' For all they got's gone, all they got's gone Don't like to see the women a-wearin' satin dresses Their husbands bankrupted and are in great distresses Better being at home a-washin' up the dishes Patchin' their dresses or their husbands' old britches For all they got's gone, all they got's gone Me and my partner, we both went to bed Jug of white lightning under my head I waked up, the stopper was pulled The jug was empty and my partner was full All I got's gone, all I got's gone

gean ritchie barbry aleen

All in the merry month of May When the green buds they were swellin' Young William Green on his death bed lay For the love of Barbry Ellen He sent his servant to the town To the place where she was dwellin' Saying "Master's sick and he send for you, If your name be Barbry Ellen." So slowly, slowly she got up And slowly she came a' nigh him And all she said when she got there Young man I believe you're dyin' Oh yes I'm low, I'm very low And death is on me dwellin' No better, no better I never will be If I can't get Barbry Ellen Oh yes you're low, and very low And death is on you dwellin' No better, no better you'll never be For you can't get Barbry Ellen For don't you remember in yonder stand In yonder stand a' drinkin' You passed your glass all around and around And you slighted Barbry Ellen Oh yes I remember in yonder stand In yonder stand a drinkin' I gave my health to the ladies all around But not to Barbry Ellen He turned his pale face to the wall For death was on him dwellin' Adieu, adieu, you good neighbors all Adieu sweet Barbry Ellen As she was goin' across the fields She heard those death bells a' knellin' And ev'ry stroke the death bell give Hard-hearted Barbry Ellen Oh Mother, oh Mother, go make my bed Go make it both long and narrow Young William's died for me today And I'll die for him tomorrow Oh she was buried 'neath the old church tower And he was buried all nigh her And out of his bosom grew a red, red rose Out of Barbry's grew a green briar They grew and they grew up the old church tower Until they could grow no higher They locked in tight in a true lover's not Red rose around the green briar Barbara Allen" (Child 84, Roud 54) is a traditional ballad originating in England and Scotland, which immigrants introduced to the United States, where it became a popular folk song.[1] Roud and Bishop described it as, "...far and away the most widely collected song in the English language — equally popular in England, Scotland and Ireland, and with hundreds of versions collected over the years in North America."[2] Contents [hide] 1 History 2 Synopsis 3 Lyrics 3.1 Variations 4 Contemporary renditions 5 Influence on popular culture 6 Media 7 References 8 External links History[edit] A diary entry by Samuel Pepys on January 2, 1666 contains the earliest extant reference to the song. In it, he recalls the fun and games at a New Years party:[3] "...but above all, my dear Mrs Knipp whom I sang; and in perfect pleasure I was to hear her sing, and especially her little Scotch song of Barbary Allen." From this, Roud & Bishop inferred the song was popular at the time. They suggested that it may have been written for stage performance, as Elizabeth Knepp was a professional actress, singer, and dancer.[2] One 1690 broadside of the song was published in London under the loquacious title "Barbara Allen's cruelty: or, the young-man's tragedy. With Barbara Allen's [l]amentation for her unkindness to her lover, and her self".[4] Additional printing were common in Britain throughout the eighteenth century, several of which were printed in Newcastle-upon-Tyne, Edinburgh or Aberdeen indicating that the song was of Scottish or northern English origin. The ballad was first printed in the United States in 1836.[citation needed] Many variations of the song continued to be printed on broadsides in the United States through the 19th and 20th centuries. It was also passed orally and spread by inclusion in songbooks and newspaper columns, along with other popular ballads such as "The Farmer's Curst Wife" and "The Golden Vanity". Although renditions of the song can vary considerably in plot, they generally follow a common narrative. A young man lies dying for the love of Barbara Allen; he has a servant summon her to his bedside for solace, but she does little but scorn him. Denied his true love, the hero succumbs to illness; in some versions, he leaves her an inheritance before dying.[6] Upon hearing the church bells of his funeral, Barbara Allen regrets her decision and senses that her own death is near. She too dies of heartbreak, and they are buried beside one another.[7] The song often concludes with a "rose-briar motif" of several stanzas describing floral growth on the lovers' neighboring graves, symbolising fidelity in love even after death.[8] This motif is shared with other ballads, including "Lord Thomas and Fair Annet", "Lord Lovel", and "Fair Margaret and Sweet William".[9]

olive dame

American folklorist.

child ballads

American scholar Francis J. Child compiled a collection of over three hundred authentic ballads in his book "The English and Scottish Popular Ballads." De demonstrated that these ballads were the creations of oral folk culture. Francis J. Child --> 300 English and Scottish ballads collection Ballads compiled by the American scholar Francis J. Child that were the creations of oral folk culture. Authentic folk ballads winnowed by Francis J. Childs german influence in music, migrated into southern Appalachia, irsh scottish englis

cherokee

Are a Native American people historically settled in the Southeastern United States (principally Georgia, the Carolinas and Eastern Tennessee). Linguistically, they are part of the Iroquoian-language family. In the 19th century, historians and ethnographers recorded their oral tradition that told of the tribe having migrated south in ancient times from the Great Lakes region, where other Iroquoian-speaking peoples were located. A member of an Iroquoian people formerly living in the Appalachian Mountains influences, folk medicine, dancing and basketry basket weaving craft is a tourist economy boom to Appalachia

ballad singing

tells a story, usually love and unaccompanied

bluegrass music

Bill Monroe developed this type of music in the 1940s. A band of this type usually features harmony singing, a banjo, mandolin, guitar, bass, and fiddle. It had a regional influence, originating in the area of eastern Tennessee and Kentucky. is a style rooted in the southern string band tradition that incorporated elements of blues. Closely related to country music, this music style originated in the region from the Appalachians westward to the Ozark Mountains from Missouri to Arkansas. Characterized by washboards, fiddles, and banjos; influenced by Irish, Scottish, and African-American music; started in Kentucky by Bill Monroe and his band in the 1940s. Famous bluegrass musicians include banjo players Lester Flatt and Earl Scruggs.

My clinch mountain home -cater family

Far away on a hill to sunny mountain side Many years ago we parted, my little Ruth and I From the sunny mountain side She clung to me and trembled when I told her we must part She said, "Don't go my darling, it almost breaks my heart To think of you, so far apart" Carry me back to old Virginia Back to my clinch mountain home Carry me back to old Virginia Back to my old mountain home I fold my arms around her, leaned her head upon my breast I told her I would wed her when I came back from the west At my old clinch mountain home In my hand I hold a picture of the old home far away In the other one my sweetheart I'm thinking of today On the sunny mountain side Carry me back to old Virginia Back to my clinch mountain home Carry me back to old Virginia Back to my old mountain home My mother's old and feeble, my father's getting gray I'm going back to Virginia and I expect to stay At my old, clinch mountain home Carry me back to old Virginia Back to my clinch mountain home Carry me back to old Virginia Back to my old mountain home Songwriters CARTER, A.P. Published by Lyrics © Peermusic Publishing Terms of Use Send "My Clinch Mountain ..." Ringtone to your Mobile Featured Video more videos Dierks Bentley Shares Emotional Story Behind 'I Hold On' The country star explains the inspiration behind his powerful song. Discuss these lyrics... Featured Video Dierks Bentley Expains 'I Hold On' Lyrics (BETWEEN THE LINES) 12 Hit Songs You Won't Believe Were Passed Up By Other Artists Originals 12 Hit Songs You Won't Believe Were Passed... New Music Daily Originals New Music Daily The Band Perry - Liner Notes Liner Notes The Band Perry - Liner Notes 11 Delicious Misheard Lyrics About Food Originals 11 Delicious Misheard Lyrics About Food Misheard lyrics about food that you'll never hear the same again! Jason Aldean - Live On Letterman Interview Interviews Jason Aldean - Live On Letterman Interview What's That Line? Misheard Lyrics From Some of Music's Biggest Artists Originals What's That Line? Misheard Lyrics From... Jack Johnson, Karmin, Phoenix, and 30 Seconds To Mars share some of their most commonly... GET MORE Listen to The Carter Family Radio on Last.fm

hillbilly day festival

Hillbilly Days is an annual festival that takes place in Pikeville, Kentucky. The festival is hosted by Pikeville on the third weekend of April. Each year it brings in over 100,000 people, from all across the continent of North America, who line the streets of the City of Pikeville. Each year this festival raises money for the local Shriners Children's Hospital.[1][2] According to WYMT Mountain News in Hazard, Kentucky, this event, "gives hillbillies of all ages a chance to have a little fun.....And it lets them embrace the hillbilly lifestyle." [3] This event continuously grows and according to the Southeast Kentucky Chamber of Commerce, "Hillbilly Days 2013 will be bigger and better than ever."[ Hillbilly Days was first founded in 1977 by a group of Shriners as a means to raise money for the Shriners Hospital.[1] Two shriners from the Hillbilly Clan Outhouse No. 2, Howard "Dirty Ear" Stratton and "Shady" Grady Kinney, decided to start the festival in 1976 after visiting a festival in Portsmouth, Ohio. They got a group of shriners together and they began the festival in 1977. It has continued ever since.[5] In 2011 this festival was able to raise $72,000 dollars for the Shriners Hospital.[6] Over 100,000 people come once a year experience the event and culture of Appalachia. Participants wear overalls and other rural attire while roaming the streets of Pikeville to help raise money for a cause.[7] The planning committee for this festival usually starts meeting around September and then work on their plans each workday up until the festival begins in mid-April. Stage for Musicians in the Park At this festival, there are numerous opportunities for entertainment. All around the City there are many locations designated for each different type of entertainment. In the city park, courthouse square, Hambley Blvd., and on the Billy Johnson Stage on the Eastern Kentucky Exposition Center plaza participants can listen to live music and performances, while inside the Expo Center there are numerous events and concerts occurring such as Brantley Gilbert.[9][10][11] Music is not the only option for entertainment, though. Set up in the city park, Coca-Cola sponsors the Hillbilly Days Corn Hole Tournaments, which runs all 3 days at various times.[12] While Pepsi/Mountain Dew sponsors several events such as Hillbilly X Factor, which features 25 contestants, and also the Hillbilly Days Scavenger Hunt, which includes other sponsors such as Appalachian Wireless and Dr. Pepper. The 2013 Arts and Crafts section was known as EQT Craft Bazaar. It was sponsored by the Equitable Gas Company, which is commonly known as EQT.[14] In 2013 there were 72 booths set up on the first floor of the Pikeville City Parking Garage. These booths contained everything from purses and jewelry to information about Health care and University of Kentucky Men's Basketball players signing autographs.[15][16] Quilt Show[edit] One of the craft event that is held every year is the Quilt Show. This event is held at the Pike County the carnival is filled with rides and games. Tickets, each year, run around $20 for an armband and/or $1 per single ticket. In 2013 tickets went up to $1.25 per single ticket, or $20 for an armband, but participants who have a coupon for Wednesday night only, can get $5 off. The carnival is set up and ran by Gold Medal Shows.[18] On Thursday night after dark one of the bigger attractions of the festival starts, the Appalachian Wireless Fireworks Show. The Annual Hillbilly Days Parade is always on the Saturday of Hillbilly Days. It starts at 2 p.m. and runs from the Pikeville public library and ends at the Social Security Office. In order to enter the parade you have to fill out an application and have it turned in by the set date. A list of rules are set for the parade entries to ensure the safety of everyone in the parade and the bystanders Food and other vendors line the streets of Pikeville each year selling deep fried goods, lemonade, T-shirts, and Hillbilly attire. Vendors set up along Hambley Boulevard, College Street, Main Street, Huffman Avenue, and the area around the Courthouse.[23] There are an estimated 300+ vendors who line up each year along both sides of the street.[24]

Pretty Polly- Doc Boggs

I used to be a rambler, I stayed around this town I used to be a rambler, I stayed around in town I courted Pretty Polly and the (guilt) has never been found (break) Oh where is Pretty Polly, oh yonder she stands Oh where is Pretty Polly, oh yonder she stands With rings on her fingers and lily-white hands Pretty Polly, Pretty Polly come take a walk with me Pretty Polly, Pretty Polly come take a walk with me When we get married some pleasure to see (break) He led her over hills and valleys so deep He led her over hills and valleys so deep At last Pretty Polly, she began to weep Oh Willie oh Willie I'm 'fraid of your way Willie oh Willie I'm 'fraid of your way All minding to ramble and lead me astray (break) Pretty Polly, Pretty Polly you guessin' about right Pretty Polly, Pretty Polly you guessin' about right I dug on your grave two-thirds of last night They went on a piece farther and what did they spy? Went on up (?) farther and what did they spy? A new-dug grave and a spade lying by She threw her arms around him and began for to weep She threw her arms around him and began for to weep At last Pretty Polly, she fell asleep He threw the dirt over her, and turned away to go Threw the dirt over her, and turned away to go Down to the river where the deep water flow

new lost city ramblers

Mike Seeger. tom paley, john cohen Old-Timey Re-creations set out to recreate the sound of early hillbilly music

folk music

Music performed by untrained musicians and passed down through oral traditions; it encompasses a wide range of music, from Appalachian fiddle tunes to the accordion-led zydeco of Louisiana. This music became very popular during the 1950s and 1960s. Many of these songs reflected the revival of traditional folk songs such as those composed by Woody Guthrie. Other artists wrote songs about social unrest or protests about the government Music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. One meaning often given is that of old songs, with no known composers; another is music that has been transmitted and evolved by a process of oral transmission or performed by custom over a long period of time. Passed down orally, relatively simple, associated with a culture, passed down over a period of time (for many generations) about life within that culture. Tend to be simple and by a unknown composer

roots music

Musical genres such as blues, gospel, Cajun, zydeco, hillbilly, bluegrass, polka, klezmer, that are either identified as source musics that contributed to mainstream popular musics such as rock, or as the musics of ethnic groups in the United States As a marketing term it has replaced folk music folk music brought my immigrants.

Wildwood flowers carter family

Oh, I'll twine with my mingles and waving black hair With the roses so red and the lilies so fair And the myrtle so bright with the emerald hue The pale amanita and eyes look like blue Oh I'll dance, I will sing and my laugh shall be gay I will charm every heart, in his crown I will sway When I woke from my dreaming, my idol was clay All portion of love had all flown away Oh he taught me to love him and promised to love And to cherish me over all others above How my heart is now wond'ring no mis'ry can tell He's left me no warning, no words of farewell Oh, he taught me to love him and called me his flow'r That was blooming to cheer him through life's dreary hour Oh, I long to see him and regret the dark hour He's gone and neglected this pale wildwood flow'r Wildwood Flower" is a variant of the song "I'll Twine 'Mid the Ringlets",[1] published in 1860 by composer Joseph Philbrick Webster, who wrote the music, with lyrics attributed to Maud Irving. Other versions of the song have evolved, including "The Pale Amaranthus" (collected in Kentucky and North Carolina, reported in 1911),[2] "Raven Black Hair" and "The Pale Wildwood Flower" (collected 1915-1919), and "The Frail Wildwood Flower".[3] The original Carter Family first recorded "Wildwood Flower" in 1928 on the Victor label. Maybelle Carter leads a rendition of the song on the 1972 album Will the Circle be Unbroken. Woody Guthrie used the tune of "I'll Twine 'Mid the Ringlets" for the verses of his song "The Sinking of the Reuben James", although he added a chorus to the song.[4] The original poem (if any) from which the lyrics derived has been lost. Other poems attributed to the reputed author of the lyrics, Maud Irving, may be found in periodicals of the time, including Godey's Lady's Book[5] and Home Monthly. Several of the poems in the latter periodical carry bylines indicating that the Maud Irving of those poems was a pseudonym for poet and spiritualist J. William Van Namee.[6]

settlement schools

Social reform institutions established in rural Appalachia in the early 20th century with the purpose of educating mountain children and improving their isolated rural communities.

stereotypes of Appalachia Folk Life

The culture of Appalachia is neither unique or monolithic. Much of what is described as southern Appalachian Folklife is true of the upper South. Within Appalachia, wide variety exists. Eastern Kentucky and Western North Carolina don't have the same historical or cultural experience, nor is Appalachian culture specifically English or Celtic as others have long believed. Appalachia Folklife is not all ancient and unchanging. Songs are sung and stories told are centuries old but Appalachia culture will continue to change and redefine itself.

catawaba

The decimation and forced migration of Indian tribes scrambled new tribes together. This nation was formed from the splintered remnants of other tribes. Disease, forced emigration, and attacks on Native American peoples had severe effects on most if not all tribes. This "scrambled" various Native peoples in completely unexpected ways. For example, *this tribe* formed in the southern piedmont region, made up of the survivors from many other tribes. influenced pottery

Mountain monsters

The people have heard of the Mothman who was sighted in West Virginia on numerous occasions. Of course there are the Braxton County Monster, Blue Devil, Sheepsquatch, The Grafton Monster, Thunderbirds, and the list goes on and on. What most people don't realize is that there are more sightings of mysterious creatures in the Appalachian Region than any where else in the world. Many have tried to explain it but no one is really sure why. What we do know is that on a regular basis sightings are reported and who knows how many go unreported for fear by the witnesses of being laughed at or ridiculed. Some believe that the Appalachian Region is incredibly unique because it offers the perfect conditions for mysterious creatures. It is the window from our dimension into another dimension where these creatures exist. Whatever the explanation, there are regular sightings of these creatures and it is the job of the AIMS to investigate these reports and help determine if they are real or if there is another explanation. ​sters and Mysteries in America is an American reality television series that premiered March 24, 2013, on Destination America.[1] Repeats air on the network's sister-station, the Discovery Channel. It also sometimes airs on Animal Planet, particularly during one of their "Monster weeks". In the United Kingdom, the series airs on the Sky-owned television channel Pick as Monsters & Mysteries. Unlike predecessors such as In Search Of... and MonsterQuest, the series includes numerous legends in each episode and features first-person witness encounters. Each episode is split into three segments, all focusing on one particular monster, legend, or phenomenon. Ron Bowman has served as show runner and writer since the series' launch. In Season 1 episodes focused on a specific region in the United States; in later seasons, stories within episodes were based on a variety of towns and hamlets all around the country. Lyle Blackburn of Rue-Morgue.com has served as consultant and expert. AmericanMonsters.com co-founder Rob Morphy has served, among others, as a consultant and illustrator for the program. En (Kelly-Hopkinsville Encounter), Mothman" March 24, 2013 in Hardinsburg, Kentucky, two life-long friends encounter a horrid beast known as Sheepsquatch. In Kelly, Kentucky, a family is terrorized by aliens from another world, and in Point Pleasant, West Virginia, the locals report sightings of a winged beast known as the Mothman. 02 02 "Pacific Northwest: Sasquatch, Shanghai Tunnels, Flathead Lake Monster" March 31, 2013 In Republic, Washington, a hunter reports an encounter with Bigfoot that ended with him shooting the creature. In Portland, the legendary "Shanghai Tunnels" are the final resting place of angry spirits, as well as a spirit who can turn into a wolf. Finally, in Polson, Montana, the locals are afraid to venture into the waters on the local lake, in fear that a monster is hunting them as prey. 03 03 "Ozarks: Fouke Monster, Pope Lick Monster, Spooklight" April 7, 2013 A woman in Fouke, Arkansas recounts how her family's rural property was trespassed upon by a legendary mountain beast. In Kentucky, the reports of a ghostly light frighten locals, even more terrifying is a half-man/half-goat creature that lures the innocent to their deaths. 04 04 "Badlands: Devil's Highway, Black Eyed Kids, Curse Of Superstition Mountains" April 14, 2013 Along the landscape of the badlands, truckers report horrific encounters with ghostly entities and UFOs. In Amarillo, Texas, a man has an encounter with children who appear to be more than they truly are, and in Safford, Arizona, hikers looking for lost treasure meet horrible fates, possibly at the hands of a curse on the land. 05 05 "The Swamp: Rougarou, Honey Island Swamp Monster, Vampire" April 21, 2013 The swamps of Slidell, Louisiana are what a massive Bigfoot-like creature calls home. Children encounter a demonic werewolf-like creature in their rural home. Vampires may be prowling the streets of New Orleans in search of their next meal. 06 06 "Desert Wasteland: Thunderbirds & Skinwalkers, Nightstalker, Harvesting Humans (Alien Abduction)" April 28, 2013 In Farmington, New Mexico, locals report encounters with the mystical Skinwalker and cattle deaths at the hands of a flying monstrosity. In Upper Fruitland, New Mexico a young woman is terrorized by a demon who won't stop until it has gotten her, and finally in Las Vegas a man reports multiple abductions by alien beings since childhood.

Appalachian culture of survival

The singers and songwriters of Appalachia are known and loved throughout the world. [SONG - "THAT'S WHY I'M COUNTRY" BY JOHNNY CASH & DOLLY PARTON] These mountain people took their stories and songs and created a phenomenon in popular culture. But the music we think of today as country has roots that go back hundreds of years. The reason people are still attracted to the music is because it comes from this older culture that developed here in the mountains. When you're looking at country, you're looking at Loretta Lynn! [SONG - "YOU'RE LOOKIN' AT COUNTRY" BY LORETTA LYNN] Country music takes us back to the beloved songs and instruments that 18th Century pioneers had brought from Europe. For three hundred years, Appalachians have learned to sing the story of their lives. Mommy was a great singer. I think Mommy could probably out-sing all of us. But that's how I learned how to sing was from Mommy. [SONG - "PRETTY LITTLE MISS" BY JEAN RITCHIE] All the different ethnic groups that had settled in the mountains contributed to the evolution of traditional music. In addition to the Irish fiddle, you would find the dulcimer, derived from German instruments. There was the Italian mandolin, the Spanish guitar, and the banjo, brought by slaves from Africa. [SONG - "LITTLE OLD CABIN IN THE LANE" BY UNCLE JOHN SCRUGGS] Appalachian boys just fell in love with the banjo. They just loved that raucous-- you could really carry on with it. Although black folks have not been a large percentage of population in the mountains, they were hugely influential on the music itself. If you think about the ways music sounded as it came from the old world, and how it sounds after it remained in the Southern mountains for a while, there's a major difference. Every great American form of music, it's a merging of African and American traditions. The banjo, the fiddle, and the guitar were a perfect combination. And the Appalachian string band was born. By the turn of the 20th century, the mountains were ringing with string band music, played for family and friends. But new technology was about to make it available far and wide. Everything changed when you could order photographs and records from the Sears and Roebuck catalog. And Rural Free Delivery would bring them to your door. The most powerful change came with a revolutionary new device called radio. The earliest stations in America began broadcasting in 1919. And within a few years, the little miracle made its way into mountain homes. Poor people out in the country who never afforded themselves even the most primitive of luxuries would invest in radios and radio equipment because that was a means to connect with the outside world. Back in the early days, you never bought a radio ready to go. What you did was you went to a radio supply store, and you bought the different parts that you needed and you assembled the radio. It was a real gadget sort of thing. The first radio we had was a Crosley radio with the antenna outdoors that stretched from one tree to another, and the old battery sat outside with the ground wire on it. And if the battery got low, you'd go out and pour water on the ground wire or the ground stake so that the power would come in a little better and static would go away. You could only have one person listen at a time. They were crystal sets. So you had a little diode that you put in your ear, and you could hear the radio, but nobody else in the room could. Ladies and gentlemen, main event, ten rounds, for the heavyweight championship of the world. Gene Tunney and Jack Dempsey fighting their second fight. It was the first time I ever remember seeing a radio was on the occasion of that prize fight. --reigning and still heavyweight champion, Gene Tunney. I went away a disappointed lad that night, because Dempsey did not regain the title. And I didn't get to hear the flight because there was only one set of earphones. Finally, in 1925, Western Electric came out with a radio loud speaker, which was a great big horn on the base that you could plug into your radio. And everybody in the room could hear the radio. And that had a tremendous effect. Radio was very dynamic. It had a major impact on Southern mountain life. Ladies and gentlemen of the radio audience, it's a grand night. And I'm going to be speaking from the Navy Yard, Washington, DC. Radio can leap over mountainous. Just a moment ago, the last turn of the propellers of the Memphis-- People living at great distance from urban centers, it gave them a sense that there was more going on than what was going on in their immediate location. --white uniformed crew of the Memphis-- They could hear how other people talked. They could hear the ideas that were shared. They could hear news from other parts of the world instantaneously. They could hear the music that other people liked to listen to. Radio broke through some of the isolation of the mountain people. An Appalachian culture was about to take flight across America, far beyond the mountains where it was born. One night in 1925, a scheduling disaster at station WSM in Nashville gave birth to that great haven of country music, The Grand Ole Opry. In late November of 1925, a preacher that was supposed to be on the air one evening was unable to show up for his broadcast. There was a studio pianist on duty that night. She asked if she could go down to the car and invite her uncle to come upstairs. Her uncle was a guy named Jimmy Thompson, who's a champion fiddle player. And this old man climbed the stairs, sat at a microphone, and played for an hour of old-time fiddle tunes. Hello, folks. This is old uncle Jimmy Thompson. Telegrams and phone calls began pouring in. And that was the beginning, really, of The Grand Ole Opry, with that one man and that accidental program. People would come from over that mountain, all three of four miles, to come over here and come to listen to the radio. [SONG - "COUNTRY BOY" BY LITTLE JIMMY DICKENS] And sitting in there and dad had the radio on, and you'd listen to Grand Ole Opry. And everybody, the boys that lived to be grown men and old men still talk about that. The music would just echo off of those hills and the surroundings. And it was a marvelous thing. Crowds would swarm the station, trying to get a glimpse of their favorite stars. Within a few years, the producers had to move the show into a theater. The joyous sounds of the live audience gave an extra boost to the radio broadcast. The Opry was so popular that record producers began to see commercial possibilities for what they called hillbilly music. [SONG - "HILLBILLY FEVER" BY OSBORNE BROTHERS] When the American record companies first started putting out this kind of music, they were all Northerners. And they all called it hillbilly music. Until the salesmen got down here and started trying to sell this stuff. And the guys would say, you think I'm going to put that stuff called hillbilly music out in my store? No way. This is mountain music, or this is old-time music. But it ain't hillbilly music. Even though today, people in Appalachia can make jokes about hillbillies, for many, many, many years, it was really a fighting word, an insulting word. Given the negative connotations of the term hillbilly, eventually that was removed. And country music came to be the name given to this type of music. 1927 was another landmark year for Appalachian music. New York producer Ralph Peer recorded two acts that would set the tone for all that followed. [SONG - "WAITING FOR A TRAIN" BY JIMMIE ROGERS] One was Jimmie Rogers, the father of country music. Jimmy Rogers records were huge sellers. He was the true first country music superstar. And people would go into these little general stores and say, I'll take a pound of flour, a dozen eggs, and that latest Jimmie Rogers record. Gee, I do love that old song, Jimmie. Yeah? [SONG - "BURY ME DEEP BENEATH THE WILLOW" BY THE CARTER FAMILY] The other groundbreaking act was the Carter family, Alvin Pleasant, or AP, his wife Sara, and his sister in law, Maybelle. AP and Sarah and Maybelle heard about this man that was going to be in Bristol at this hotel on August 2, 1927, listening to singers and recording them for the Victor Talking Machine Company. They went over the hills to Bristol and went to this hotel and auditioned for Ralph Peer, who recorded six songs that first day. They were an immediate success among the mountain people. And they played them on the radio constantly. The lyrical content of their songs, what they stood for, and just the absolute unadorned beauty of it all. The Carter Family, to me, is about as pure as country music, or American music, could possibly be. For Appalachians, the music of the Carter Family and The Grand Ole Opry was more than entertainment. It was a source of pride. [SONG - "HOW CAN A POOR MAN STAND SUCH TIMES AND LIVE?" BY BLIND ALFRED REED] It offered some comfort to people still struggling with the very basics of life. At the end of the 1920s, all of America was devastated by The Great Depression. In most places, it started with the stock market crash in 1929, but not in Appalachia. The Depression began in Appalachia long before it began in the rest of the country. Mountain people had become dependent upon a cash income. They had left the farm and moved to company town environments. But there was no work in the mines. The timber had all been cut. By 1926, 1927, you find large amounts of layoffs, African Americans and immigrants leaving the mountains, large numbers of people returning to the farms. The Great Depression, people would come by where my grandmother lived and stop for a drink water, like a man and his wife and three or four children-- all walking, looking for work. And my grandmother would feed them and whatever, give them food to take with them, and kill a chicken, and have a big dinner for them, and send them on their way. It was a tough, tough time for coal mining people. Our bathtub was a washtub in the kitchen by the coal stove. About once a week, we'd fill it up with hot water from the cold stove, and we would each take a bath. These winters were very bad. And at times, when I would go to bed at night, at five years old, I would just hope that I wouldn't wake up in the morning. Many of our values that came to us from our rural heritage were reinforced because of the hardships of not having the same kinds of advantages that other Americans might have had. My fellow Americans, this is preeminently the time to speak the truth-- When President Franklin Roosevelt outlined the promise of a New Deal for America, in 1933, hope began to spread through the mountains. Roosevelt made personal visits to Appalachia, and became a hero to the local people. I'd like to have you play Soldier's Joy. Sure, that'd be fine. Roosevelt's New Deal, I think, helped people survive. I really think you would have had mass starvation in the Appalachian region if it hadn't been for the New Deal. He did make it possible for miners to greatly improve their living conditions. It gave us a feeling that we weren't alone, that we weren't going to be left there just to die, that there was going to be some future. Roosevelt basically did away with the mine guard system. It was no longer legal for the coal companies to have their own private armies. So at that point, the union basically had a freer hand to come in and organize, which they did. While the union was being revitalized, the broad reach of New Deal projects forever altered the landscape in Appalachia. The Civilian Conservation Corps built courthouses and town halls as well as state parks that preserved the beauty of the mountains. Another critical New Deal program was the Works Progress Administration, which brought paying jobs and a few small luxury. I remember back when Daddy worked on the WPA. And his first check, Mommy got a little, I think it was two yards, of dress material. That was my first store-bought material dress because the rest of it was all feed sack. But perhaps the greatest cultural change in the mountain region was created by the Tennessee Valley Authority. The TVA took over giant tracts of land and build dams to control recurrent flooding and to run electricity. [SONG - "ELECTRICITY" BY PAUL BURCH] When the TVA was established in 1933, fewer than 10% of Appalachian homes had electric power. I think I was about 18 or 19 years old when I left West Virginia. My folks still didn't have electricity. And when I went back, I looked up, and it was evening time, and I saw this one little light bulb hanging down. And I thought, uh-oh. Boy, they've gone uptown on me now. With electricity to power the transmitters, a little 1,000-watt radio signal was carried deeper into the mountain hollows. More and more people could tune in to the music, to the news, and to the word of God. --and today we're going to talk about, hallelujah, how he manned that all God's going to come, and Jesus is going to split the clouds of glory. And as the lightning shines from the East to the West, so shall the coming of the Son of Man be. Amen, people looks at us like we're crazies. Man, they don't know what they're talking about. But praise God-- These are radio stations that people consider as being part of their own community. And so on Sundays, people would just wander in, and may be called upon for a testimony. Praise God's river, I know I live right, but I haven't gone far enough yet until I can say to this black lung, get out and take a hike. And over those broadcasts, very intimate things would be said, sometimes, about the people that were their audience. Brother so and so called me the other day. And he told me he's going to drinking again. Now, I want you to pray for brother so and so. The intimacy of that small town is gone. It's gone in the nation. But here in Appalachia, you get that still. Tied together by radio preachers and a wide variety of small mountain churches, religion has remained a powerful force in the daily life of Appalachia. [SONG "WHEN THIS WORLD COMES TO AN END (I BELIEVE IN BEING READY" BY MAGGIE HAMMONS] Religion was always important to me. Mommy would read a verse of the Bible to us every night. When I turned 17, I had four kids, at 17. I would hold that bible in my hand and cry and beg God to please give me the knowledge to learn how to read the Bible. And to this day, I read the Bible better than anything else. [UNINTELLIGIBLE PHRASE] Religion offers the Appalachian people hope where sometimes there is no hope. Hope from poverty, hope from the cold, from depression. Religion is woven through the very fabric of mountain life, in the family and in the community. But nothing is entirely sacred when the mountaineers decide to poke a bit of fun at themselves. I was up in West Virginia once, in Pocahontas county. And they told me a joke about a preacher who was pretty sanctimonious. And he came down the street and found this fellow who was somewhat inebriated, steadying himself with a light pole. And so the preacher stops and says when are you going to get off the road to Hell and on the road to Heaven like I'm on? And the drunk says, how long you been on that road, preacher? And the preacher says, 42 years, kind of proudly. And the drunk says, I don't know, preacher. If I had been on a road 42 years, and hadn't got no further than Pocahontas county, West Virginia, I'd try a new road. [SONG "KEEP ON THE SUNNY SIDE" BY THE CARTER FAMILY] Humor and hope have carried Appalachian people through hard times, from the dangers of the open frontier through the struggles of the Great Depression. For the first half of the 20th century, they rode out the waves of boom and bust. Men lost jobs digging coal, found jobs with the WPA, then headed back into the mines with a stronger union. But another World War and its aftermath would leave the region one of the poorest in the nation. The big change in the mountains actually came with World War II. When war broke out, thousands of young men and women from the mountains were taken from the region, placed into the military, or into war industries. For those who stayed behind, the war years were good. Coal was needed to power the military effort, and men in the mountains found work underground. But in the years after the war, trains switch to diesel fuel. Gas, oil, and electricity were now the preferred sources of energy. And the price of coal collapsed. After an era of relative prosperity in the 1940s, after World War II, then mechanization came to the mines in a big way, which meant that for all these decades of labor-intensive mining that employed a lot of people, that all came to an end. As mines were closed or mechanized, the workforce, which shrank by 50% in the decade, the only life the miner had ever known, was now changed forever. The mines went down from five days a week to one, and a lot of times none. We lost everything we had. We couldn't make the payments on the things that we had bought. We lost our automobile, our furniture, and that's when we went to Chicago. The miners were forced to migrate to find work. And the young people, who had seen the outside world, now looked at their home through different eyes. After the war, when they came back the home, they expected for their children to have better education, better access to jobs, better opportunities. When those opportunities didn't exist at home, more than 3 and 1/2 million young people from the mountains left Appalachia. [SONG "GOING NOWHERE FAST" BY BLUE PLATE SPECIAL] For young and old, Appalachia became known as the place to leave. Reading, writing, and Route 23 North to Columbus. That was the three Rs that was taught in the school. They called it hillbilly highway because streams of old cars, day after day, were just leaving, pouring out of the mountains, all packed with families going into the Midwest. Often they found work. Sometimes they couldn't. And the only place they could afford to live was a slum. They moved in with friends and family, ten people to a room, sharing the little they had, and taking any work they could. They sought comfort in music and religion. It was one of the great internal migrations in American history. But it was a two-way migration. Because the people there would work in a factory for five days, and they were so lonely, they'd jump back into their cars on Friday night and drive all the way back to Kentucky. But they just needed to touch base. They wanted to hear the way people spoke again, they wanted to see the mountains again. They were drawn back. Some people managed to keep up this back-and-forth existence. But land and family called others back home for good. [SONG - "I WONDER HOW THE OLD FOLKS ARE BACK HOME" BY MAC WISEMAN] I went to Chicago. I made $1.55 an hour. I stayed there 12 years. 1962, I was making $1,180 month salary. But I'm a country boy, and I'm not a city boy. So I quit the job, moved back here, took a job in the mines and started all over again. The out-migrants never fully became comfortable outside of the region. It never fully became home. Home was always back in the mountains. And for a whole generation of folk, I think, we found ourselves growing up on the road with one foot in modern America and one foot at home in Appalachia. [SONG - "BLACK WATERS" BY JEAN RITCHIE] Home was the place where the folks were. But whether you traveled back on weekends or returned to stay, home no longer looked the way it did in your memory. By the 1950s, mining companies had found a way to extract the coal that was even cheaper than mechanized underground mines. It was called strip mining. Coal companies began to use new technologies, interestingly enough that had been developed during the '40s and as a result of the war, to strip mine, to remove large parts of the surface material in order to get at the seams of coal. Underground coal miners wouldn't even call that mining. I mean, there's no coal mining skills involved in it, from their standpoint. It's more heavy construction skills. But it occurs because of the same reasons that mechanization occurred in underground mines, in order to beat out your competitors in a tough market to get it as cheap as you can. It's a job. And people need to work. And strip mining is a way of making a living for people. They say a lot of the strip mining that they were doing is actually turn up the land and is causing a lot of problems with the wildlife. You're invading their habitat. The streams and rivers are causing big problems for the fish and things. So a lot of people are very much against that. Landowners took their protests to the state capital. They claimed that strip mining was polluting their waterways and devastating their forests. The absence of trees from the hillsides also increased flooding. Massive floods occurred in Appalachia in the late 1950s, many of which were the events that helped to lead to the rediscovery of Appalachia in the 1960s by the federal government. This state has been hard hit. In fact, probably more hard hit than any state in the union. There are about 250,000 people in West Virginia on surplus food. What I think the most significant thing is that most of these people have been put out of work because machines have taken their place. But this is a great national problem to which we've devoted very little attention. In 1960, West Virginia was the site of a fierce political battle, the Democratic primary campaign between Hubert Humphrey and John F. Kennedy. When John Kennedy needed to establish himself as a compassionate man, and also win a state that was not anti-Catholic but suspicious of Catholics, West Virginia seemed perfect. So he went down to have himself photographed among the poorest of the poor, Appalachians. I think he genuinely was, also, shocked when he came here. I think there was a stereotype that poverty only existed in the cities. And Appalachian poverty was something that people didn't look at. We were kind of a forgotten place. The powerful new medium of television covered the campaign. Teams from every network captured the heartbreaking face of the rural poor. This is Walter Cronkite reporting. Today, we visit another part of America where bewilderment and despair gnaw unchecked at the foundations of an essentially optimistic society. What Americans saw were once again backward people, backward Appalachians that we need to feel sorry for. In the tight folds of the East Kentucky mountains, dead machines are strewn on the misty hills. Bought for a $50, $100-- People were suffering. And people were hungry. --but simply as rural non-farm. If young, he must change his life. If old and lucky-- There were terrible problems. But at the same time, people resented the way that poverty was looked at, the way it was handled in the media. And this administration today, here and now, declares unconditional war on poverty in America. When Lyndon Johnson declared a war on poverty in 1964, the media returned in force to Appalachia. Widespread pictures of raggedy children on ramshackle porches outraged a lot of local people. Television and magazines were not showing reality as they knew it. And they thought the new stereotypes were as damaging as the violent caricatures that dated back to the feud between the Hatfields and the McCoys. Goldie Johnson cooks for seven. There were poor regions throughout the country, but the human face of hunger and need looked a lot like Appalachia. In the yard, there are the dead outlines of a flower garden Goldie Johnson tried to keep one forgotten spring and then gave up on. She has worked hard every day of her marriage. There is nothing conceivable that can stop her work as long as she lives. She knows now it will have to be a life without flowers. This is the road-- Charles Kuralt, we came to know him as this wonderful old uncle of a fellow that did wonderful things and had a great respect for people. --that it is Christmas in Appalachia. [SONG - "SILENT NIGHT"] But in that particular Christmas in Appalachia, it was condescending and very troubling, I think. And beside these roads, the shacks of tar paper and twine which are-- What that did, seeming an act of compassion, just, once again, put another layer onto this hillbilly stuff. The war on poverty focused the nation on Appalachia. Under the VISTA program, idealistic young men and women moved in to work with the mountain poor. And the region was receiving its first federal support since the New Deal. Appalachian people were grateful for the help. What they did not want was pity. [SONG "PRICE OF PROGRESS" BY JASON RINGENBERG] But regardless of new social and economic programs, it was becoming more and more difficult for Appalachian people to hold on to their most precious resource, their land. The Army Corps of Engineers was still building dams for flood control, as it had since the 1930s. State governments saw that the lakes created by the dams could be turned into tourist attractions. But the flooding of lush bottomlands and farms meant that someone was losing land their family had worked for generations. It was more than just the land. I mean, we lost the whole community. We lost the people. It was total devastation. It took all of our home farm that we had. My brother wanted to come back and farm on the farm. And Dad said, no, there's no need to. That you need to go on with your life and make other arrangements and not thing on settling here and making your roots here. And he did so. I looked out at my land today for as far as the eye can see. It is the land my great grandfather settled. We worked this land, we built the house with our very hands. This land is as familiar to me as my own skin. And now, those bastards, the Corps of Engineers, are burying me. They're stealing our land. There's nothing left for me now. I don't give a damn if I live another day. I am already dead. William D. Currence, Bulltown, West Virginia, 1976. In addition to the family farm, the Appalachian mountains themselves were threatened. The nation still needed a stable, domestic source of energy. From the 1980s to the present day, another mining system has been used in Tennessee, Kentucky, and West Virginia to extract the most coal for the least expense. Miners shear off a mountain peak, strip away the trees and topsoil, then blast the rock to get at the coal. Opponents call it mountaintop removal. And to them, it is even worse than the strip mining of the 1950s. The whole top part of the mountain is literally blown apart. What happens is the tops of the mountains come off and are pushed out into these hollows. And so instead of this ragged landscape, you have this big open wound. Large amounts of coal can be mined with giant machines and few workers. Some argue the topography itself invites this type of mining. A number of coal seams that lie close to the top of the hill are so thin that you could not underground mine them, for geologic reasons and for physical reasons as well as economic reasons. The federal government has struggled to regulate the practice of mountaintop removal. One law requires that the mining companies reclaim land with new plantings after the coal has been pulled out. Reclamation is no longer an afterthought. It is absolutely a component of operation. And every day that we're mining, we're reclaiming on that same operation. My favorite characterization of reclamation is it's like putting lipstick on a corpse. Once they have taken everything off the mountain, and you've got giant machines, heavy equipment that goes back and forth over what's essentially just rock, they throw hydroseed on it, which is a combination of nutrients and grass seed. Then, they're expecting something to grow on that. The battles continue between the mining industry and the people who worry about the environmental impact. The coal that lives in the bedrock of the hills has powered the building of America and provided the main source of employment for millions of people. It has been the blessing and the curse of Appalachia. We're very proud of being able to provide the fuel that has electrified the country. We're producing energy for the nation, we're providing jobs for people, and help them build their homes and sustain a life in an area where they want to live. When you have to destroy entire ecosystems, communities, and even people's lives, that price is far to dear for people here in West Virginia. There is no doubt that the exportation of the Appalachian land is devastating. It's not just the resources you're taking. You're taking away one's identity with the land. The Appalachian population is tied to the mountains. That's what we like. That's what we enjoy. Appalachian people deeply cherish the hills they call home. And the region's natural beauty has drawn more and more outsiders to enjoy the mountains, lakes, and thousands of miles of peaceful hiking trails. The Appalachian Trail is an amazing cultural research. It takes people to a more primeval place, to a forest that could have been here in the 15th Century before the first European person ever set foot in Appalachia. Today, I think, the image is shifting. For one thing, a lot of Americans have become disaffected with their own culture. And so they're looking for another way to live. And so Appalachia, with cheap prices and cheaper land, slower pace of life, beautiful environment, a lot of people from the outside have been coming in to settle. The big cities, from Pittsburgh to Birmingham, Charleston to Roanoke, are bustling, filled with office towers and industrial parks. Charming, revitalized, small towns are a magnet for tourists. But as the urban centers become more like the rest of America, the most remote areas of Appalachia continue to suffer from lack of infrastructure, medical care, and jobs. There are people in the mountains still living without electricity or running water. I think today we see two Appalachias. There is certainly a new Appalachia action that has changed rather dramatically in the last 30 years. But if you go outside of that new Appalachia, up the head of the hollow and into the old, abandoned coal camps, or into the old rural areas, you still see much of the old Appalachia too. Is Appalachia to become just like the rest of modern urban America, rootless, tied to a consumer society where families are less important than the individual? I think that's the big challenge facing Appalachia today, is how do we move into the 21st century, but maintain the freedom and power to define our culture in ways that may be different from the American mainstream? [SONG - "COAL MINER'S DAUGHTER" BY LORETTA LYNN] The people of Appalachia will not let their ancestral culture fade away. Every year, traditional music is celebrated in festivals up and down the ridge. And families that had been forced to leave many years ago are being pulled back home. [SONG - "CABIN ON THE HILL" BY FLATT AND SCRUGGS] One of the sure ways to tell whether someone is from the mountains or someone is a modern middle-class American is do you know where you're going to be buried? Many mountain people know where there going to be buried. They're going to be buried back in the family cemetery. I think if you forget where you come from, where are you going to go? There's no place to go. I've spent my life leaving and returning to Appalachia. There would be one moment when we'd look out, and there would be an overview of the hills, especially at dusk, when they were turning blue, and there was a mist rising out of some of the valleys, and a little, white farmhouse tucked in between shouldering hills, and that was it. Our hearts would leap, like, this is it. We're home. Down there in that mist, that's Appalachia. That's where we belong. The Southern Appalachian mountains have been seductive and embracing. They have isolated and they have nurtured. From the time the first settlers tamed a lonely wilderness, this land and its people have played a special role in the creation of American life and culture. After countless generations, the soul of mountain life still belongs to the singers and storytellers of Appalachia. And even as they tell of their own sorrows and joys, few can ever forget the beloved homeland their ancestors left behind for a better life in the new world. You know, our roots are in Scotland, ancient, ancient roots. And that music, Celtic music, Scottish and Irish, has a profound resonance for both of us, and all of Appalachian music. He wrote this gorgeous song called "40 Shades of Green" after the first time you visited Ireland, right? Yeah. And so we went back and singing this song, "40 Shades of Green." And an old man comes up to him after the show and says, aye, the 40 Shades of Green, 'tis a fine, old Irish folk song. Right? Yeah, he said that. You said, no, sir. I wrote that song. He said, no, 'tis a fine, old folk song. He wouldn't have it. It had to be an Irish song. I finally gave in. I said, OK. OK. But I did write it. [SONG - "40 SHADES OF GREEN" BY ROSEMARY AND JOHNNY CASH] [SONG - "COME ALL YE FAIR AND TENDER LADIES"] Production of The Appalachians is made possible by grants from The United States Department of Veterans Affairs, The United States Department of Housing and Urban Development, The Vandalia Heritage Foundation, promoting historic preservation and development, The Sierra Club, which is a proud partner in local community efforts to protect this treasured land, and the Mountain Made Foundation, promoting West Virginia Arts and Crafts. Additional funding was provided by the Robert H. Mollohan Family Charitable Foundation, The Appalachian Regional Commission, The West Virginia High Technology Consortium Foundation, The National Aeronautics and Space Administration, and by The Corporation for Public Broadcasting. Hello, I'm Naomi Judd. I'm a proud country girl from Ashland, Kentucky on the edge of the Appalachians. Our mountains are as old as the heart of our stories and songs, but they're in trouble. The mining companies are blasting off their tops and changing our landscape and our children's legacy forever. For years now, the Sierra Club's been working to protect these mountains and our Appalachian heritage. How about lending us a hand? We need it. Contact us at the sierraclub.org. I think probably living, in a way, an isolated existence has a lot to do with the fact that Appalachian mountain people are so unique in their love of their fellow man and the way they treat their fellow man. Because over in the next hollow, there may not be a house. Or over the next hill, there may not be. Or over the next hollow, there might be a woman with a sick baby that really desperately needs help but doesn't know how to get it. And they reach out to her. And they help. Or maybe somebody is broken down and can't get to the doctor, well, they'll take them to the doctor. They take care of each other. They always do that. they take care of each other. Religion offers the Appalachian people hope, where sometimes there is no hope. Hope from poverty, hope from the cold, from depression. They had a song called "No Depression" where they sing about there will be no depression there. But religion, they aren't religious people, but they are in one sense. They're very religious. They have faith. They have faith in God, and that is their religion. But they're not into religiosity, the ones that I know. And these are all of AP's descendants that I was just with up there. I went up for a vacation and went to the Carter Family Fold. And these people are inµ to loving their fellow man, is what to do. And that's what religion is to them, and I think that's what I try to make it be for me. When I went on the road with him after high school when I was 19, I was a Beatles fan. I was a rock and roll fan. I didn't really care about country music. But I liked my dad. And we were on the bus, and they would sing on the bus these old songs. And I started getting very interested in these songs. And so he saw I was getting interested, and he gave me a list of 100 essential country songs. And he said, you have to learn these. Do you remember that? Yeah, I don't remember the list. Well, I remember part of the list. Part of the list were the old protest songs and the old history songs like "Battle of New Orleans," "This Land is Your Land," Woody Guthrie, and on up to Hank Snow, Hank Williams. And of course, there were Appalachian songs, Carter Family Songs, "Wildwood Flower." Do you remember some of the other Carter Family songs on that list maybe? "Banks of the Ohio." Yeah, "Banks of the Ohio." June always loved "Banks of the Ohio." That was her favorite Carter Family song. [SONG "BANKS OF THE OHIO" BY ROSEMARY AND JOHNNY CASH] It's one of those songs that has about 100 versus. And I think he kills her, right? He killed her. He killed her. He plunged his knife into her breast. And threw her in the river. You know, our roots are in Scotland, ancient, ancient roots. And that music, Celtic music, Scottish and Irish, has a profound resonance for both of us. And all of Appalachian music, of course. Yeah. Once there was a wee Cooper of Fife, nickety, nackety, noo, noo, noo. And he had gotten a gentle wife, hey, willy wallachy, John Dougal, alane quo rushety, noo, noo, noo. What's that song? Sounds like speaking in tongues. No, it's Scottish. What's that called? It's the story about the guy that whipped his wife. But because he would criticized for it, he put a sheepskin on her back, and said, I will not whip my wife for a gentle kin, but I will whip my own sheepskin. And he beat his sheepskin-- So the payoff is, so if you've gotten a gentle wife, nickety, nackety, noo, noo, noo. Send you for the wee cooper of Fife, hey, willy wallachy, John Dougal, alane quo rushety, noo, noo, noo.

folklore

The traditional beliefs, myths, tales, and practices of a people, transmitted orally. Oral traditions of a folk culture, including tales, fables, legends, customary observations and moral teachings. The traditional beliefs, customs, stories, songs, and dances of the culture.

The Appalachian first frontier

This program examines the first waves of settlement in the Appalachian mountains, beginning with the region's earliest inhabitants—the Cherokee people and other Native American tribes. Illustrating how these indigenous populations were eventually overwhelmed by the arrival of Europeans, the video focuses on the influx of Scots-Irish immigrants, their crucial role in the American Revolution, and their equally defiant stance against the fledgling U.S. government during the Whiskey Rebellion. The Appalachian origins of country music are also examined, with particular attention to the influences of African-American and revivalist religious culture. A viewable/printable instructor's guide is available online. I was playing with The Chieftains one day. And I was playing this bowing technique and Sean Keane, from the group, said, where did you learn that? I said, from an old man in Eastern Kentucky. He said, that's the way they play in Donegal. And I was so flipped out to realize that had come over here centuries ago. Along with fiddle music, many well-loved ballads made the long, hard trip across the ocean. [SINGING] In Scotland I was born and bred, in Scotland I was dwelling, I fell in love with a pretty fair maid and her name was Barbara Allen. As people packed up to make the journey to the New World, they had to leave almost everything behind. There wasn't enough room on the ship for anything. But there was enough room on that ship to memorize a few dozen songs. Singing those songs or playing those tunes made them feel at home. They had brought that part of their culture with them. [SINGING] Oh mother, oh mother, go dig my grave. Go dig it long and narrow, sweet William died for me today, I'll die for him tomorrow. The ballads, of course, are basically narrative songs or story songs. Many of them go back-- in England, as far back as the days of Shakespeare. It comes from the troubadours in England like 14th, 15th, 16th century. They travelled the country. They would stop at a farmhouse. They would write a song for the person who lived there. That's what they had to say about the troubadour, he always paid his way. They didn't say that he paid his way with a song, but he did, for a warm bed and breakfast in the morning. We still kind of do that. We do, don't we? Those songs didn't die off in the mountains. They stayed in the mountains. Many of these songs dealt with the same kind of archetypal themes that soap operas today deal with-- deception, betrayal, murder, and true love. "Barbara Allen" is the classic example. [SINGING] If your name be Barbara Allen. Later on, we began to get songs that dealt with topical subjects, especially as Americans began to take hold of the models of the old songs and create new songs around them. That's the only you passed it down, was to write about it. If anything happened, if someone got killed, there would be a song wrote about it. This man got this girl pregnant-- and this is a true song-- he was going to marry her. Or he told her he was going to marry her. That was what the story was about. And they went out walkin' on a Sunday afternoon. And he threw her in the river, the old high river. [SINGING] I asked my love to take a walk, just a walk a little ways and as we walk, oh may we talk all about our wedding day. Americans tended to change the songs. If you're going to have fun singing a good ballad, you've got to learn something from it. So on many American songs, you have tied on to the end of the ballad a moral. [SINGING] Down by the banks of the Ohio. "The Banks of the Ohio," the man takes the woman down to the banks of the Ohio and pushes her in to drown. "I watched her as she floated down." Well, he's ultimately apprehended. But that's pretty direct. [SINGING] And though they say that you'll be mine, and in no other's arms incline, down beside where the waters go, down by the banks of the Ohio. It's one of those songs that has about 100 verses. And I think he kills her, right? He killed her. He plunged his knife into her breast. [SINGING] I took her by her little hand, and led her down where the waters bound, there I threw her in to drown, and watched her as she floated down. Darlin', say that you'll be mine-- It's a hard thing to put into words. I think partly, because there are all these isolated areas, different hollows or in the mountains, where people got together and made music for themselves. I think the thing that other parts of the country tends to get diluted in different ways, and somehow the mountains, I think, held some tradition in, in a way. I just always imagine in my mind, when I hear this music, I think about the journey that the musical style took and how it got changed in the mountains. I think about the time travel of that music and it's beautiful stuff. The same rugged mountains that held and nurtured music and culture also marked the western boundary of colonial America. These settlers who had come from the borderlands of England were living again on the edge of two worlds. But the rich land beyond the hills was bound to call to the adventurous pioneer. [SINGING] We're going west to Kaintuck, down the road through moccasin gap, down the wilderness road, the dusty road, the old weedy creek road, the road down troublesome, road through moccasin gap. There was a time when going way out West meant going out to Kaintuck, the dark and bloody ground, as the Indians called it. In 1769, a back country explorer forged his way across the Alleghenies. After traveling dark wilderness trails for five weeks, he and his men came upon a most remarkable sight. "I had gained the summit of a commanding ridge, and, looking round with astonishing delight, beheld the ample plains, the beauteous tracts below." Daniel Boone. Boone could see that the territory was ripe for farming. And six years later he established a settlement in Kentucky. He was flatly defying British orders to stay east of the Alleghenies and avoid the French, who held lands to the west. The English weren't the only ones who resisted westward expansion. For the Cherokee, keeping the colonists east of the Alleghenies was a matter of survival. "Whole Indian nations have melted away like snowballs in the sun before the white man's advance. We had hoped that the white man would not be willing to travel beyond the mountains. Now that hope is gone." Dragging Canoe, 1775. Land was the most important reason-- but not the only one-- for the rising anger the Cherokee felt against the whites. In the 1730s, European diseases had wiped out more than 1/3 of the Cherokee tribe. And the tribe was losing many of its traditions. They had always prospered by hunting, growing, or making everything they needed to live. But by this time, they were selling great volumes of deerskins to the traders in return for fabrics, metal tools and copper kettles. They had started to resent being so dependent on European goods. "My people cannot live independent of the English. The clothes we wear we cannot make ourselves. They are made for us. We use their ammunition with which to kill deer. We cannot make our own guns. Every necessary of life we must have from the white people." Chief Skiagunsta, 1745. Throughout the 18th century, English, French settlers and Indians were mired in combat in Appalachia. It was said, a man could live from boyhood to old age and never know a time of peace. The culminating battle began when the colonies declared their independence in 1776. The American revolution was hard fought in the mountains by all the friends and foes of the colonial cause. Many Cherokee looked to the British as their allies. They found themselves on the opposite side of the frontiersman who had learned so well to fight in Indian style. In the American Revolution, the Cherokees were divided. Most favored the British, because in 1763, the King had issued a proclamation that prohibited westward expansion. Now, this infuriated many of the colonists. But, from the Indian perspective, the King was standing up for their rights. The British searched in every quarter for people who remained loyal to the King. Well, you have to remember that the Revolution was a civil war. There were people on both sides. By and large, the people who were on the side of the crown-- or who were neutral or indifferent in Appalachia-- did not take up arms. One of the assumptions of the British army that invaded the south in the 1780s was that, if they reached the back country, that the loyalists there would rise up. And that didn't happen. Most of the mountaineers, especially the Scotch-Irish, were fiercely committed to throwing over British rule. They were among the first to sign up when George Washington sent out the call for troops. "The Scotch-Irish declared that these colonies are, and at right ought to be free and independent." "And it was from these that came that out-burst of rugged and determined people that made the declaration of 1776 possible." Colonel A.K. McClure, newspaper editor. The most famous back country fighters for the Overmountain Men of Tennessee who defeated the stalwart Colonel Ferguson at the Battle of Kings Mountain in South Carolina. Ferguson had threatened to cross the Appalachians and exterminate the people if they didn't support the King. In his proclamation, he called the mountaineers white barbarians. To the Colonel's surprise, the barbarians charged his forces, seeking cover behind rocks and chasing the soldiers up the mountain tree by tree. They killed nearly 200 British troops, including Colonel Ferguson. Well, they won. They won because they adopted the Indian's style of warfare, as they had before. And they won because the loyalists in the back woods didn't rise up in support of the British army. The surprise victory snuffed out British hopes for taking the south and was a critical turning point in making America the land of the free. George Washington said if he ever had to make a last stand, he would want to stand with the Overmountain Boys who knew how to shoot and fight. When the revolution was over, land that the Indians had fought so hard to save officially became part of the new country. The Indians had chosen the wrong side. The British support was not sustained. And the British cut them off at the knees, we would say today, when the Peace Treaty of Paris in 1783 was announced, and gave the United States what was-- from the Indian's standpoint-- their land. The Revolution was a turning point for Appalachia. The region headed into a period of significant growth and change. Thousands of soldiers were rewarded with free homesteads, bringing a flood of new settlers to the mountains. And the proud mountaineer would soon find himself doing battle with the very government he had just helped bring to power. [SINGING] Come on, all you booze fighters, if you want to hear about the kind of booze that we sell around here. It's made way back in the swamps and the hills where there's plenty of moonshine still. The Scotsman had always known how to make liquor from barley and rye. They quickly learned to use Indian crops instead, wheat and corn, berries and potatoes, just about anything that grew. Selling whiskey was good business, much more profitable than selling any of the bulky raw crops. But George Washington's government was buried in debt. And one of the ways they tried to pay it off was with a tax on whiskey. The settlers of the western country were so opposed to this tax because it was very reminiscent of the taxes that were imposed on the colonists under the rule of King George of England. And the people that were on the frontier were the rugged individualists, they were the veterans of the American Revolution that fought to establish this country. They were very jealous of their property and their rights. They valued freedom. They did not want to be told what to do by anyone. A string of violent protests broke out from New York to Georgia. It became known as the Whiskey Rebellion. And it raged from 1791 to 1794. The new tax was not to be tolerated. It was a tax that was required to be paid in cash. And cash was scarce on the frontier. Whiskey was a commodity that was used as money. Ministers were known to even accept payment for their Sunday services with whiskey. [SINGING] One drop will make a rabbit whip a bulldog, one drop will make a cat chase a wild hog, make a bullfrog spit in a black snake's face or make a hard-shell preacher fall from grace. It would be not uncommon, when a federal tax collector would come here, that they would tar and feather him. One violent outbreak in the western Carolina region, they actually took the excise tax collector and ground his nose off at a grinding wheel. [SINGING] And the lamb will lay down with the lion after drinking this old moonshine. This was a fight the settlers could not win. Washington took 13,000 troops into western Pennsylvania under his personal command. It was an army as big as the one that had fought the revolution. The rebellious moonshiners were crushed. Rules and regulations were bound to be imposed on these people who wanted to believe they could just be left alone. The Appalachian mountaineer could grow or make everything he needed to survive. He had learned to rely on himself and did not want outsiders dictating how he was to think or behave in politics or in religion. Just as the stubborn pioneer bridled at government authority, he also had little use for the Old World hierarchy of the church. He would follow the call of his spirit and find his own way to god. The mountain legacy of independent thinking about religion continues to this day in the astonishing variety of churches still to be found in Appalachia. Appalachia is really, marvelously, diverse religiously. Particularly, central Appalachia may be one of the most religiously diverse areas of the nation. Baptists, for example. We've got well over 40 varieties of Baptist. Regular Baptist, Old Regular Baptist, United Baptist, Union Baptist, Separate Baptist, Two-Seed-in-the-Spirit Predestinarian Baptist. [UNINTELLIGIBLE CHURCH SERVICE] In many mountain churches, religion is intensely physical and emotional. [UNINTELLIGIBLE CHURCH SERVICE] People continue to practice religious exercises that date back hundreds of years. This bodily expression, and the wide array of sects, first took root in the dynamic religious activity of the 18th and 19th centuries. Immigrants had arrived in Appalachia with different traditions. There were Anglicans and Baptists from England, from Germany, a range of Protestant groups, and the Scotch-Irish were mostly Presbyterian. But the established churches could not find a foothold on the frontier where distances were great and communication difficult. For a few generations, worship was held inside the family or in the most humble mountain chapel. The religion most had carried with them was Calvinistic, tough, dark, and demanding. John Calvin imagined that God was all powerful, knew all things, had predestined all things and knew who would be saved and who wouldn't be saved. But it was a grim theology in a way, because you might not be among the elect. God was only going to save a remnant of the human race. But people like John Wesley-- one of the founders of Methodism-- had been spreading newer ideas through Europe, especially the notions of a gentler god and human free will. The old, intellectual Calvinism started giving way to this new thought that God is all loving, God would like to save us all. All we have to do is repent and ask for forgiveness and we can be saved. That's the doctrine of free will, that we have it upon ourselves to decide whether or not to be saved. Well, this is more optimistic. People could get happy with religion. By the 1740s, this more hopeful vision was spreading like burning tinder through the mountains. There began a long series of Evangelical or Enthusiastic religious revivals-- known as the Great Awakenings-- that would last more than 80 years. Ministers of every stripe swarmed into Appalachia, bound to bring the un-churched into the fold. "Most of these People had never before seen a Minister, or heard the Lord's Prayer, Service or Sermon in their Days. After Service, they went to Revelling Drinking Singing Dancing and Whoring-- and most of the Company were drunk before I quitted the Spot." Charles Woodmason, minister, 1768. Presbyterians did not have enough educated ministers to reach the far flung population. The Baptists and Methodists were more successful, because they commissioned farmer preachers and sent them off into the mountains. They were called the circuit riders. They spoke a common language with the people they were trying to convert and inspired them to gather together for worship. [SINGING] Long ago, when but a boy at old camp meeting time-- By 1800, the revival had found its most powerful outlet. Settlers left the hills by the thousands on foot, on horseback, in the family wagon. They traveled long days to the great camp meetings under the mountain sky. Up in Cane Ridge Kentucky, around Lexington, the Cane Ridge Revival had 25,000 people in 1801. The population of Lexington, Kentucky was about 5,000 people at that time. So people came from miles and miles and miles away. That was what was considered the first camp meetings. "The meeting was remarkably lively, and many souls were deeply wrought upon. And at the close of the sermon, there was a general cry for mercy." "The meeting continued all night, both by white and black people. And many souls were converted before day." Jesse Lee, 1807. People barked like dogs and yipped and shouted and climbed trees and scratched the bark and did all sorts of things to demonstrate that they had the holy ghost and really had got religion, because it needed to be emotional. And that spread to all the churches, this need for an emotional salvation. Since the days of the Great Awakenings, Baptists and Methodists have been the largest religious groups in Appalachia. And all through the mountains, the tent meeting tradition lives on after 200 years. We were out traveling around these back roads. There was a revival meeting. There were tiny tents and we passed a tent one night and it was just a little two pole tent with a couple of light bulbs and probably 20 people there, but I could hear the preacher. And I mean, he was preaching like there were 25,000 people there. It reminded me of the scripture when it talked about John the Baptist in the wilderness, a voice crying out in the wilderness. God and music go hand in hand. If you don't believe it, read Psalms. I mean God is the creator of all beautiful things and music being one of the most beautiful gifts I think this earth could ever have. Music is our hope and our salvation in awfully hard times of trouble. When you're living on the side of a mountain and you have a skinny mule trying to plow horrible land that's barely feeding your babies, and you've got to have something to hope in. Oh man, what a wonderful thing to be able to go to church and talk to our creator by way of music. The same revivals that energized the spirit would also transform religious music on the frontier. Like the ballads, religious songs were an essential part of life that had been carry from the Old World, along with the traditional style of singing. A lot of times there was a call and answer. A leader would sing, amazing grace, how sweet the sound, everybody together, amazing grace how sweet the sound, that saved a wretch like me, that saved a wretch like me. A lot of the music in the early colonial period was lined out hymnity, where somebody would give you the words to the song and you would sing a phrase and then they would chant the second phrase or line and then you would sing that. Was blind but now I see. All together-- was blind but now I see. If you were not able to read or couldn't afford hymn books, you could still sing along with lined out hymn. [CONGREGATION SINGING] Even today, groups like the Primitive Baptist Universalists can be heard simply and humbly singing the Lord's word. And we still have that coming down-- almost as an orthodox thing-- that we still line out the hymns and you sing mono-phonically, you don't sing in harmony. That's showing off. Glorious, complex harmonies did become popular later on when a new system was created to help people learn the hymns. It was a special kind of notation, a visual form called shape note music and it quickly spread through the mountain churches. Shape note singing was a simplified way that people could learn to read music and be precise about music. You could read the notes either by looking at the kind of shape it or, if you could still read on lines, on the staff, you could read them that way. Singers sat in a hollow square with the leader in the middle. Shape note music used a limited scale, which gave it its unusual sound. You sing the song through the first time by note. So you'll hear a group of people singing-- la, fa, so, la, so, fa, fa, fa-- and you'll wonder, what's going on? And they'll go through it that way. And then they'll come back and they'll sing the words. Tennessee, Kentucky, and Alabama became centers for this kind of music and it still is today. By the end of the Great Awakenings, a very different sound was echoing through the mountain hollows. [SINGING] If I was a preacher, I tell you what I would do, I'd keep on preaching and I'd work on the building too. I'm working on a building-- As white and black people mingled at revival meetings, the white musicians picked up on African rhythms. They created blood-stirring songs to fit the new emotional religion, songs that would become classics of gospel and bluegrass. Today, we are still hearing the sound of the revivals echo through country music after 200 years There is no greater influence on early country music than gospel music. It was the deepest well from which musicians drew. And it was not only the song material, it was the way of singing, of very emotive singing. When you put the secular tradition together with the religious tradition, you see so many antecedents of what we know as country music, and they're still there today. Music of the spirit, music of the heart, carrying memories of a distant home, songs that tell of hard times, of stormy passions and a deep devotion to God. From the days of the first pioneers, music has been a binding force in the southern mountains. It is a gift to all the world from the people of Appalachia.

Wise county jail doc. boggs

Wash up your face, boys, comb up your head Now get ready for your coffee and bread REFRAIN: Hard times in the Wise County Jail That's hard times, I know Piece of cold meat and cold corn bread It's so cold it's heavy as lead REFRAIN: Hard times in the Wise County Jail That's hard times, I know A year in jail is so complete About one half enough to eat REFRAIN: Hard times in the Wise County Jail That's hard times, I know Almost makes my stomach ache When the bring the potatoes in the old tin plate REFRAIN: It's hard times in the Wise County Jail Hard times, I know Here in jail, it is so nice Amongst the dirt and the body lice REFRAIN: Hard times in the Wise County Jail That's hard times, I know Wise County Jail, no jail at all The chinches and bugs are walkin' the wall REFRAIN: Hard times in the Wise County Jail That's hard times, I know Almost brings me to my knees When I hear that jailer ring them keys REFRAIN: It's hard times in the Wise County Jail Hard times, I know Officers 'round Norton's a dirty old crew They'll arrest a poor man, they'll look him plumb through His pockets they'll pick, his clothes they'll sell For twenty-five cents, they'd send him to hell REFRAIN: It's hard times, the Wise County Jail That's hard times, I know

dolly parton

first country star to appear on the cover of Rolling Stone She was born in the hill country of Tennessee and began her recording career at age eleven. She moved to Nashville in 1964 and built her career with regular appearances on country music radio and television. country music's biggest celebrity, exemplifies the significant trends in country music. 1970s recording artist. Popular crossover from country to Pop. "I'm not leavin gthe country, I'm taking the country with me." Significant in contributing to broadening of country's audience.

L & N don't stop here anymore Jean Ritchie

When I was a curly headed baby My daddy set me down on his knee Saying boy you go to school and you learn your letters Don't become no dusty miner boy like me. And I was born and raised in the mouth of a Hazzard holler Where the coal cars rolled and rumbled past my door But now they stand in a rusty row of empties 'Cause the L&N don't stop here anymore. Now I used to think my daddy was a black man With script enough to buy the company store Oh but now he goes to town with empty pockets And Lord his face is as white as a February snow. Never thought I'd ever live to love that coal dust Never thought I'd pray to hear those tipples roar Oh but God I wish the grass would turn to money And feel my greenbacks in my pockets once more. Lastnight I dreamed I went down to the office To get my payday like I've done before But those kudzu vines they were covering over the doorway And there were weeds and grass growing right up through the floor. Jean Ritchie released The L&N Don't Stop Here Anymore in 1965. She originally credited the song to Than Hall, her grandfather. When Jean Ritchie was a young girl, the Louisville & Nashville Railroad had a little passenger train that ran by the mouth of the Slabtown Holler in Viper, Kentucky, where the Ritchie Family lived. When the coal mines shut down, the passenger service along with the coal trains was discontinued. It was one of the first signs of hard times. The L And N Don't Stop Here Anymore is a reflection of the period.

the wreck of old henry witter Auhust 1925

When it crashed, the Old 97 was en route from Monroe, Virginia, to Spencer, North Carolina. The route usually took four and a quarter hours, but the train had left Monroe an hour late. In an attempt to preserve the train's reputation for always being on time, engineer Joseph A. "Steve" Broadey reportedly increased the locomotive's speed to 50 miles per hour, or a 10 mph increase over its normal speed. (Southern Railway officials later claimed he had pushed the speed as high as 70 mph.) As the train descended the curved tracks approaching the Stillhouse Trestle, Broadey was unable to reduce the speed, and reversed the engine in order to lock the wheels. The speeding train continued straight ahead as the tracks curved, soaring dramatically away from them before the locomotive and all four cars hit the rocky bottom of the shallow creek below. Eleven people were killed, including the locomotive crew and a number of clerks assigned to oversee the mail hauled on the train. Newspapers across the country ran photographs of the wreckage and reported on the thousands of people attending the scene of the accident, women fainting at the grisly sight of the debris, and firefighters summoned to put out the fires ignited by the steam engine. Two of the spectators were Fred Jackson Lewey, whose cousin Albion Clapp was one of the firemen called to the train, and David Graves George, a Pittsylvania County telegraph operator. A number of ballads were written about the wreck, the most popular of which became an early country hit and the first million-selling record in the United States when recorded by Vernon Dalhart for RCA Victor Records in 1924. That version of the ballad was credited to Lewey and his cowriter, Charles W. Noell. An earlier version was recorded by Virginia musicians G. B. Grayson and Henry Whitter for Okeh Records. The music was based in large part on the late-nineteenth-century ballad "The Ship That Never Returned" by Henry Clay Work. Title: Women Observing the Wreck of the Old 97 Women Observing the Wreck of the Old 97 According to the Blue Ridge Institute at Ferrum College, "The Wreck of the Old 97" also produced "the first major lawsuit involving copyright" when David Graves George subsequently sued RCA Victor Company, claiming original authorship of the ballad. Though he won his case and was awarded $65,000 on sales of five million records, the record company managed to tie the matter up in appellate court long enough to prevent George from ever collecting damages. The song "The Wreck of the Old 97" joins a long history of folk songs about disasters. Its lyrics lament the Old 97 as "the fastest train / Ever ran the Southern line," and linger over the grisly details of Broadey being "scalded to death by the steam," turning the story into a cautionary tale for wives, who shouldn't scold their husbands lest the argument be the last words the couple has together. I. The story of the wreck of the Old 97 lives on even in contemporary music through the country-rock band the Old 97s. Formed in 1993, the Dallas, Texas, band takes its name from the folk ballad. Wreck of the Old '97 Song by Johnny Cash Well, they gave him his orders in Monroe, Virginian, Said, "Steve, you're way behind time, "This is not 38, this is Ol'97, "Put her into Spencer on time." Then he turned around and said to his black, greasy fireman, "Shovel on a little more coal. And when we cross that White Oak mountain, "Watch Ol'97 roll." And then a telegram come from Washington station, This is how it read, "Oh that brave engineer that run '97, "Is lyin' in Danville dead." "Cause he was going down a grade making 90 miles an hour, The whistle broke into a scream. He was found in the wreck with his hand on the throttle, Scalded to death by the steam." One more time! Oh, now all you ladies you better take a warning, From this time on and learn. Never speak... Full lyrics on Google Play

carter family

first family of country music Sara Carter-unaffected front porch voice, AP Carter, Mother Maybelle-- first guitar her first performers at the Grand Opry husband, wife and sister team from westernmost Virgina, virbarto-less voices, recorded well known folk songs, marked to the beginning of country music as we know it

quilting Appalachia craft

a material used for making a quilt, or a quilted fabric Increases bulk of fabric and increases insulation making blankets or other covers of two layers of fabric stitched together with padding in between, in which both pieces of fabric and the pattern of stitching offer vehicles for aesthetic creativity

dulcimer

a modern folk instrument related to the guitar and plucked with the fingers a trapezoidal zither with metal strings that are struck with light hammers; a modern folk instrument related to the guitar and plucked with the fingers a modern folk instrument related to the guitar where it must be plucked.

hillbilly

a negative name for a person from the backwoods or a mountain area a person who lives in the country far away from cities and who is often regarded as someone who lacks education, who is stupid 1920-40, hillbilly and cultural music became popular

folk revival

a trend which includes young performers popularizing the traditional musical styles of their ancestors. Often, roots revivals include an addition of newly-composed songs with socially and politically aware lyrics, as well as a general modernization of the folk sound, linked to the great depression People in college looking for college aged music. Revival in the 1960s alternative to popular music, most everyone could do this music. latched on to the Civil Rights Movement and began with Kingston Trio's recording of "Tom Dooley", ended with Bob Dylan's plugging in at the Newport Folk Festival in 1965 peaked reawakening early appalachia music

Roy Acuff

an American country music singer, fiddler, and promoter. Known as the "King of Country Music," "Great Speckled Birds" & "Wabash Cannonball" Country Western composer, founded a national radio show called, "The Grand Ole Opry" starting in the 1940's

henry d. shapiro

argued the idea of appalachia as a distinct region and culture came about when americans outside the mountains felt the need to square the otherness of Appalachia as described by visitors to the region , with the assumptions of the unified american civilization. until the mid 19th century, americans viewed Appalachia for the geological rather that cultural and social. by 1870 americans began to view applachia differently

log houses

germans brought log homes to Appalachia

tin pan alley

is the name given to the collection of New York City-centered music publishers and songwriters who dominated the popular music of the United States in the late 1800's and early 1900's. (1) Jocular name for a district in New York where numerous publishers specializing in POPULAR SONGS were located from the 1880s through the 1950s. (2) Styles of American popular song from that era. Name derived from the sound of pianos being furiously pounded by people called song pluggers demonstrating their tunes to publishers. A nickname for a section of east 28th street in NYC, where many music publishers had heir offices. Also, the styles of the songs created I the first half of the century for these publishers: a Tin Pan Alley song refers to songs by Irving Berlin, George Gershwin, and their contemporaries

trail of the lonesome pine

john fox -Set in the Appalachian Mountains at the turn of the twentieth century, a feud has been boiling for over thirty years between two influential mountain families: the Tollivers and the Falins. The character Devil Judd Tolliver, in the novel was based on the real life of "Devil John" Wesley Wright, a United States Marshal for the region in and around Wise County, Virginia, and Letcher County, Kentucky.[1] The outside world and industrialization, however, are beginning to enter the area. Coal mining begins to exert its influence on the area, despite the two families' feuds. Entering the area, enterprising "furriner" (foreigner) John Hale captures the attention of the beautiful June Tolliver, and inadvertently becomes entangled in the region's politics. Geologist Hale has a vision for the potential wealth of the natural raw materials, especially coal, that he intends to use as a means of creating a legacy for himself and the Gap. But he also has an eye for the young natural beauty of a mountain girl, June Tolliver, who he feels compelled to free from the confines of mountain life and introduce her to higher education. The coming boom time for the region necessitates Hale to establish a law and order authority that the two feuding clans refuse to recognize. It is this conflict between clans who are used to settling their differences established by 100 years of tradition and the principled Hale that threatens to destroy the budding romance between him and June, who then must choose between clan loyalties and the man she loves.

northern Protestant missionary

mid 1800s used religion and education to lift the mountaires from their isolation as an inferior society shapiro argued that americans were trying to figure out how mountaineers fit into society, how can inferior people live in isolation when so close to american cvilzationn

in the Tennessee mountains

murfees pieces in the atlantic became a volume (1884) middle class amercians found the articles very interesting .

Appalachia music

often realized by the playing of the fiddle, a variant of the European violin, and the banjo, an instrument of African origin, bluegrass is most popular, which originated in Kentucky, english and scottish ballads music was a stark difference to the music of the rest of the nation, different values , sang about moonshining, feuding, violence, family solidarity, simple life close to the soil. no such thing as appalachia music, it is diverse because the culture is diverse, exhibits different racial and ethic influences, but bears similar rural roots. early music was unaccompanied by instruments because of religious influenced

appalachia stereotypes

redneck, hillbilly, hunting, drinking,

darlene wilson

said americans could have three classes of people and the poorest lowest class had the mountain people to look down on. looking down on people make people makes people feel better about themselves

hollywood movies

silence of the lambs , cape fear , the beverly hillbillies , andy griffith show , the dukes hazard and waltons