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Appalachian Ghost Tales and Stories to Help You Get Your Halloween On!

The Appalachian Mountains are some of the oldest mountains on Earth – and if these mountains and valleys could talk, one can only imagine what stories they could tell!

The rich history and culture of the region is also home to many supernatural tales and folklore that stem from a culture that for many years was geographically isolated from the outside world. Long before settlers found their way into the Appalachian region, only dense, uncharted and rugged mountain wilderness was found. Being located in such an isolated and difficult-to-reach area resulted in the formation of a unique style of people, culture, and heritage – including storytelling.

A story’s origin is often taken from one’s own experiences, and for mountain folk, daily life had its own hardships that played into the creation of their tales. They often lived a self-sustaining lifestyle, which is represented in symbols and archetypes – like the mountaineer, who represents individualism and self-reliance. This way of life is featured in countless songs and stories to this day. At the same time, the isolation in the Appalachian Mountains also inspired its residents to carry on and create stories focused on the strange and the supernatural.

Let’s take a step back in time: Imagine you are living in rural Appalachia over 100 years ago, and one of your main forms of entertainment was storytelling – you might hear stories of a ghostly experience or something spooky that might not be able to be fully explained! Over time tales are passed down from generation to generation, and the subject matter in these early ghost stories was often said to have been inspired by personal experiences with the unexplained. After all, it’s human nature to relate something you can’t fully explain to something you understand, even if it is supernatural!

And so, with Halloween approaching, what better time to dive into some of these strange tales of Appalachian ghost stories? Today I’m featuring a few tales and mysteries that are sure to leave you in spooky spirits. Once your appetite has been whetted, check out this link for more on Appalachian history and culture.

The hills of the Appalachians are seen in this image, full of green trees and layers of fog.
Fog on the mountains is beautiful — but it’s also spooky! Courtesy of Toni Doman

The Brown Mountain Lights

“In the days of the old covered wagon
When they camped on the flats for the night
With the moon shinin’ dim o’er the old canyon rim
They watched for that brown mountain light.

High on the mountain
And down in the valley below
It shines like the crown of an angel
And fades as the mists come and go”

(Partial lyrics to “Brown Mountain Light,” courtesy of BluegrassLyrics.com)

Our first tale is one of mystery. The odd and alluring “Brown Mountain Lights” are known as a supernatural phenomenon and have been the inspiration for many songs in folk music. The mysterious lights can be found in Burke County, North Carolina, in the Pisgah National Forest. For centuries tales of these lights have been recorded, but no one has yet to uncover what is causing the puzzling event.

There have been multiple versions of the lights’ origin story throughout the years. For instance, one legend stems from the native Cherokee people where it’s told that the lights are actually the souls of women who are searching for the men they had lost in a war on Brown Mountain. In the 19th century, another version of the story claims that the lights were the spirt of a young woman who was murdered by her husband. And in a country music song of the early 1950s, a version of the story tell us of a man who went hunting on the mountain and never returned home. In this legend, a slave was sent to search for the missing man, but neither were ever seen again, and the lights are said to be the light of the lantern used to continue the search beyond the grave (today this version in song is problematic with its romanticization of slavery).

Even the U.S. Geological Survey investigated the myths surrounding the lights, and in 1922 they published an extensive report concluding that the lights were a combination of automobile and locomotive lights, light from natural brush fires, or light emitted from other explainable sources. While the study might be correct for the time, the legend does date back much further than the time of automobiles, and the lyrics in the song state “In the days of the old covered wagon,” leading one to believe the mystery may have been around much longer.

Even though sightings of the lights are now a rarity, many people still flock to the mountain to try to catch a glimpse of the strange occurrence. Check out the Country Gentlemen’s version of “Brown Mountain Light” below. I’ll leave it up to you to decide the true origins of this mystery!

The Bell Witch

What’s October without tales of witches? Arguably the most famous witch to come out of the state of Tennessee is the Bell Witch, now a familiar tale in American folklore. The story takes place in the early 1800s when John Bell and his family moved from North Carolina to Tennessee. Bell was a very successful farmer, but his family was burdened with strange and unexplainable occurrences that ended up haunting and terrorizing the family and children for several years. The first notable events began in 1817 when Bell saw a strange creature in the fields. During this time unfamiliar noises in the house occurred and the family began to experience terrifying hauntings, including voices, various afflictions, being pinched or hit by an invisible entity, and more. All of these activities were blamed on what became known as the Bell Witch, who seemed particularly focused on father John Bell and daughter Betsy – eventually Bell died from what was claimed to be a poisoning by the witch and Betsy broke her engagement to a young man based on the witch’s entreaties and actions. Check out this link for more details of this well-known Tennessee tale.

Three image: Rough sketch of a girl in a white gown with long black hair; a square metal historical marker with the Bell Witch story; and signage for the Bell Witch cave and Bell Witch canoe trips!
From left to right: A circa 1894 drawing of the Bell Witch, also known as Kate, for Martin Van Buren Ingram’s book on the case; a Tennessee historical marker relates the story of the Bell Witch; and local attractions capitalize on the Bell Witch tale’s popularity. Images are public domain via Wikimedia Commons; courtesy of Brian Stansberry; and courtesy of BRad06

 The First Ghost of Bristol

Bristol, Tennessee-Virginia, like many southern and Appalachian towns, has a fair share of unique and strange tales. The town exists primarily because of railroads, bringing people and trade to the region for decades. The book Ghosts of Bristol: Haunting Tales from the Twin Cities by V. N. Bud Phillips features ghost stories and lore of the local region and relates an intriguing tale of an early ghost in Bristol.

The story is set in 1854 and features a man by the name of John H. Moore who owned a store and a small smokehouse located near Lee and Moore Streets in Bristol. While in preparation for opening the new store, the family made arrangements to dig a new well. One morning Mrs. Moore went to the smokehouse with a butcher knife and was alarmed to see the apparition of what appeared to be a Native American spirit who was advancing towards her as if to attack her. The spirit disappeared and was never seen again, and the knife also disappeared after the incident. Mrs. Moore then protested the digging of the new well, saying that the spirit she saw was a warning not to disturb this area. Chalking this all up to simple superstitions, John Moore proceeded with the digging, and sure enough, after the well was dug a Native American grave was found on the site.

While this might seem like a simple ghost tale, according to Phillips, it’s the first recorded one in Bristol, making it worthy of our October Appalachian ghost tales featured list! I hope you enjoyed a few of these spooky Appalachian ghost tales – and I encourage you to go out and read more of the ghostly tales that can be found in this area – just in time for the Halloween season!

Layers of mountains and mist creating an atmospheric and spooky image.
Fog and mist descend on the Devil’s Courthouse in the Blue Ridge Mountains. Public domain image from the Blue Ridge Parkway Archives

 

Instrument Interview: The Creole Bania, the Oldest Existing Banjo

“Instrument Interview” posts are a chance to sit down with the instruments of traditional, country, bluegrass, and roots music – from different types of instruments to specific ones related to artists, luthiers, and songwriters – and learn more about them. Ten questions are posed, and the instruments answer! Today we talk with the Creole bania.

What ARE you?

I’m a banjo! I know I don’t exactly look like the banjos you think of today, but I’m actually the earliest known banjo that still exists. I was made sometime before 1777, and at that time, banjos were made of gourds and calabashes.

Since you’re so different from the banjos we know today, describe yourself to us.

My body is a calabash, and my drumhead is made of animal skin held on with wooden pins. I have two S-shaped sound holes (kind of like a fiddle). I also have three long strings and one short string and a very nicely carved peghead. My neck is thinner than banjos today, and it is made of wood.

Left pic: A creole bania as described in the text, made of a calabash with a skin drumhead, charged peghead, and strings. Right pic: A globular green calabash growing on a tree.
The image to the left is a picture of me, where you can see the details I describe above. To the right is a picture of a calabash, a type of fruit that grows on trees; banias are also made from gourds, which grow on vines on the ground. Left: Creative Commons, https://hdl.handle.net/20.500.11840/609575; Right: Photograph courtesy of Kristina Gaddy

Where did you come from?

I came from the country that is known as Suriname. Located on the northern coast of South America, Suriname is actually a part of the Caribbean, even though it’s not an island. In the 1770s, Suriname was a Dutch colony, known for the brutal conditions that enslaved Africans and people of African descent faced working on sugar and coffee plantations.

A two-storey, with gable, plantation house, reconstructed. It is white with red stairs and doors on the ground floor, and a green roof.
A reconstructed plantation house at Stichting Openluchtmuseum Fort Nieuw Amsterdam (SOFNA), an open-air museum in Paramaribo, Suriname.
Photograph courtesy of Kristina Gaddy

Wait! I think of banjos as a North American instrument, but you say you’re from South America?

Actually, we’re not just found in North America. Banjos were observed all over the Caribbean, too. In fact, the first record of a banjo is from about 1687 in Jamaica! Instruments similar to me had lots of different names, including bania, banya, banjo, banger, banza, and panja, and were observed in New York, the Carolinas, New Orleans, Cuba, Haiti, St. Vincent, and Barbados, among other places. If you want to know more, you should check out Dena Epstein’s Sinful Tunes and Spirituals. Yours truly is mentioned, but she has accounts of my relatives from all over.

Check out this video of Seth Swingle playing a reproduction of the Haitian banza, a banjo collected in Haiti around 1840. Pete Ross studied the original and now makes reproductions for players and museums.

Who made you?

Almost 300,000 people were forcibly taken from Africa and enslaved in Suriname, and I was made by one of those enslaved people, who based my design on the instruments he or she had in Africa. I wish I could tell you more about the person who made me, but the man who collected me, John Gabriel Stedman, didn’t tell anyone more than that.

Tell me more about this Stedman guy.

Captain John Gabriel Stedman arrived in Suriname to fight formerly enslaved people who had escaped to live in the jungle. Stedman was there to stop two tribes – the Saamaka and Njuka – from attacking plantations. Stedman kept a diary while he was in Suriname, which eventually became a very popular book, and he even drew a picture of me in it! That was when he named me “Creole Bania.”

Left: A earthen path marked with a horizontal wooden branch with hanging elements on it to mark the entrance to a village; right: boards from a house (looks like a ceiling), including carved elements.
Left: The entrance to a Saamaka village in Suriname; right: Detail of a carving on a home in a Saamaka village. Photographs courtesy of Kristina Gaddy

Where are you now?

I live at Tropenmuseum in the Netherlands. For many years I was in the storerooms, but I’ve recently been put on permanent display in an exhibit about slavery in the Dutch colonies, including Suriname.

Ok, so you’re the oldest banjo, but are there any other banjos like you?

Yes! I have a friend from Suriname who lives at the Ethnologisches Museum in Berlin, Germany. That banjo is known as the panja (pronounced pan-ya), and it was collected sometime before 1850. We are very similar in construction, and this panja has a really beautiful peghead.

The panja's dark wood peghead, intricately carved with what looks to be a goat head, in the museum archive.
The peghead of the panja at the Ethnologisches Museum in Berlin, Germany. Photograph courtesy of Kristina Gaddy

Do we know any more about the panja?

No. In fact, for many years, U.S. banjo scholars didn’t know about the panja at all! It was rediscovered by a banjo researcher named Schlomo Pestcoe, and now a couple of people have even been by to visit it.

What type of music did you and the panja play?

Alas, something else we don’t remember! No one wrote down the music that was played on banjos in Suriname, but a note about the panja does give a bit of a clue. The collection note says: “Panja, 4-stringed strummed instrument, particular to death celebrations and to the song Ananhitori.” Recent research suggests that the banjo was a central part of a spiritual/cultural ritual across the Americas. I hear if you want to find out more about this, you should come to this year’s Banjo Gathering at the Birthplace of Country Music Museum in November!

All Things Country on International Country Music Day

September 17 is International Country Music Day! And while every day is “country music day” here at the Birthplace of Country Music, we thought we’d mark today in particular with a few fun facts and fancies all about this genre of music.

On This Day

On the internet, you can almost always find something interesting via the “on this day” sites, and country music is no exception. Sometimes the connections drawn feel like a stretch to mark the day as interesting. For instance, on this day in 1959, Johnny Cash made his first appearance on UK television on a show called Boy Meets Girl. And sometimes you find a connection to the day that is just a good story, like the fact that on September 17, 1977, Reba McEntire almost missed her debut performance on the Grand Ole Opry after her name was accidentally missed on the performers’ list by a security guard. However, some “on this days” give us a truly notable moment: On September 17, 1923, country legend Hank Williams was born in Alabama. Williams died young at the age of 29 in 1953, but his short life had huge impact on country music with a host of iconic and influential songs, including “Your Cheatin’ Heart” and “Hey Good Lookin.'”

International Fandom

With this being International Country Music Day, it seems only natural to highlight the love of country music beyond the borders of the United States. Articles from recent years in The Tennessean and the Guardian note the increasing global popularity of country music – not just with fans but also with country singers who hail from other countries. Festivals devoted to country and bluegrass music abound abroad – for instance, the Country 2 Country Festival in the UK, which now draws over 80,000 fans, and the Takarazuka Bluegrass Festival in Japan, now in its 47th year. In 2014 the Canadian postal service released a series of stamps focused on the contributions of Canadian country music stars with stamps of Shania Twain, k. d. lang, Tommy Hunter, Hank Snow, and Renée Martel. And we we often experience that international love of country music  here in Bristol where the Birthplace of Country Music Museum has seen visitors from around 45 countries since we opened!

The Long Road is a new festival in the United Kingdom, held for the first time in early September 2018. Members of our team – and three musical acts from Virginia, including Folk Soul Revival seen here – went over for this inaugural event! © Kim Davis

Storytelling

So much of country music is about storytelling from the songs themselves to the stories behind them. And that storytelling is an important facet of this blog too, giving us the chance to dig deeper into the people and the events that make our music heritage so interesting. Over the past year and a half, we’ve shared the stories of several Bristol Sessions or other old-time artists. Here are just a few of our favorites:

Clockwise from top left: Ernest Phipps posing on a rock outcrop with his first wife Minnie and a friend; Georgia Warren’s signature on the museum’s Green Board at the grand opening in 2014; Jimmie Rodgers; and Hattie Stoneman performing with her family. Top left: Donated to the Birthplace of Country Music Museum by Teresa Phipps Patierno in the memory of her grandfather, Ernest Phipps, a coal miner and Holiness preacher from Kentucky, a simple man who loved his Lord; top right: © Birthplace of Country Music; bottom right: From the John Edwards Memorial Foundation Records, #20001, Southern Folklife Collection, Wilson Library, University of North Carolina at Chapel Hill; bottom left: Photograph courtesy of Roni Stoneman

An Animal By Any Other Name…

The common names of animals and plants – dog or daisy – aren’t their only names; they also have scientific names. These scientific names are formed within a system of binomial nomenclature using Latin grammatical forms where the first name refers to the genus and the second to the species, e.g. Homo sapiens or Tyrannosaurus rex. Now, oftentimes, these names reflect different elements related to the discovery of the animal or plant – for example, the person who discovered it, the place it was discovered, different languages, or even based on a joke or a pun. And in 2015 one creepy crawlie was named after a country music star: Aphonopelma johnnycashi. Named by arachnologist Chris Hamilton and his team, this tarantula species honored “The Man in Black” because it was found near Folsom State Prison, site of Cash’s famous “Folsom Prison Blues,” and due to its dark coloration.

A male Aphonopelma johnnycashi. From Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Aphonopelma_johnnycashi_male.jpg

 

Country Music…Worth a Visit

Hopefully the few quirky and interesting highlights above stoked your interest and will lead you to explore country music more. A great place to start is obviously the Birthplace of Country Music Museum here in Bristol, Tennessee-Virginia! But, of course, there are a huge variety of sites that are important to country music history – for a start, check out this list of “14 Places Every Country Music Fan Should Visit Before They Die.” Just in this area alone there are many great ways to experience the history and sounds of country and old-time music (and the music it has influenced), from the Crooked Road: Virginia’s Heritage Music Trail with sites like the Carter Family Fold in Hiltons, Virginia, and the Ralph Stanley Museum in Clintwood, Virginia, to the Down Home in Johnson City, Tennessee and music festivals and fiddlers’ conventions such as Bristol Rhythm & Roots Reunion, MerleFest, Galax Old Fiddlers’ Convention, and FloydFest. And finally, fans can pay tribute to country music stars who have passed by visiting the cemeteries and the graves that mark their final resting place.

Kiosk with info about the music heritage of Grayson County, including text about the Carter Family.
Crooked Road Wayside Kiosk at Grayson Highlands State Park. Photo by Jonathan Romeo for The Crooked Road

Happy International Country Music Day! Enjoy!

 

 

Reading is Music to the Ears!

Each year on September 6, bookworms across America celebrate National Read A Book Day. Though this is a fine thing to celebrate, reading is, of course, important and pleasurable every day of the year. If one wants to learn more about country music history, what better place to start than with a book? While you can find all of the selections below through online sellers, these and other fine selections can also be found at the Birthplace of Country Music Museum in our museum store – so stop on by and pick one up. Here are just a few of my favorites to get you started!

Cover image of Country Music Originals showing the title and two pictures of country music singers/bands.

Country Music Originals: The Legends and the Lost by Tony Russell

If you want to learn more about the important players in the world of country music, Tony Russell’s Country Music Originals is a great place to start. World-renowned scholar Russell presents biographies of figures in country music from the earliest days of recordings until the late 1940s. Highlighting superstars such as Jimmie Rodgers and The Carter Family and celebrating obscure figures such as Bernard “Slim” Smith and John Dilleshaw, Russell provides articles that are short enough to be approachable for the casual reader, but also in depth enough to spark interest for further reading. It’s a great place to start your country music reading journey!

Cover image of Don't Give Your Heart to a Rambler showing title and the author with Jimmy Martin.

Don’t Give Your Heart to a Rambler: My Life with Jimmy Martin, the King of Bluegrass by Barbara Martin Stephens

While bluegrass music is widely regarded as having been born in late 1945, one could argue that the music did not achieve the “high lonesome” sound until a young guitar player and singer from Sneedville, Tennessee, joined Bill Monroe’s Bluegrass Boys in late 1949. Jimmy Martin is widely regarded as “The King of Bluegrass” and is one of most charismatic and controversial figures in bluegrass. Don’t Give Your Heart To A Rambler was written by Barbara Martin Stephens, Martin’s longtime partner and the driving force behind his rise to success in the music business. Barbara spares her readers no gritty details as she gives an inside look into life with the King. Through all the abuse and hardship she suffered in her personal life, Barbara was still able to become the first female booking agent on music row. Nothing short of inspiring, this book is a must-read for all bluegrass fans and those interested in women in country music.

Cover image of Dixie Dewdrop showing title and Uncle Dave Macon playing the banjo.

Dixie Dewdrop: The Uncle Dave Macon Story by Michael D. Doubler

Uncle Dave Macon is one of the most iconic figures of early country music, and his style of banjo playing and showmanship has inspired countless musicians – and so Dixie Dewdrop tells the story of one of country music’s first stars. Michael Doubler, the great-grandson of Uncle Dave, spins a narrative that ties together Uncle Dave’s personal life and the music and culture of the world in which Uncle Dave lived, giving readers a glimpse into a different side of this legendary performer. If you’re curious about this book and Uncle Dave Macon, you can join Doubler at the Birthplace of Country Music Museum at 1pm on Sunday, November 4 for a special talk and book-signing.

Cover image of In Tune showing title and pictures of Charley Patton and Jimmie Rodgers.

In Tune: Charley Patton, Jimmie Rodgers and the Roots of American Music by Ben Wynne

Before record companies began marketing music to specific audiences, music flowed across cultural lines, and the line between traditional African American and white rural music was blurred. With the wonderfully informative In Tune, Ben Wynne compares and contrasts these two giants of roots music within that context. Both men were born in Mississippi around the same time, and both passed away much too early in their musical careers and their lives, dying within a year of each other. Though from separate sides of a deeply segregated society, these men lived hard lives and had experiences that were remarkably similar. This book provides commentary on the social dynamics that shaped country music, and it gives readers a detailed look into the lives and legacies of these two important figures.

Cover image of Linthead Stomp with title and picture of banjo player.

Linthead Stomp: The Creation of Country Music in the Piedmont South by Patrick Huber

Geography and country music go hand-in-hand, and regionalisms are part of what makes early country music so diverse. Bristol with its significant music history is heralded as the “Birthplace of Country Music,” but in reality, American roots music was shaped all across the nation. Patrick Huber explores the impact of textile mills in the Piedmont region of the Carolinas in Linthead Stomp. With a high population of displaced rural southerners seeking work in the mills, a new market for early country music entertainment was opened. Rural music moving to town also changed the music, and the changes that were taking place in the 1920s and 1930s in the Piedmont set the stage for country music as we know it. This book is a must-read for anyone interested in the commercialization of country music.

Cover image of Country Music Records with pictures of various record labels and the title.

And finally a “special mention”: Country Music Records: A Discography, 1921–1942 by Tony Russell

All of the books previously mentioned are easily digestible reads for the casual country music fan. However, if you find yourself hungering for all the facts about early county music records, this is the book for you. Roughly the size of your local phone book and twice as dense with information, this book contains the dates, locations, and personnel of every commercial country record recorded before 1942. A must have for any diehard country music fan and connoisseur of fine shellac.

So…I’ve given you my favorites. Now tell us: what are your favorite music reads?!

From Devoted Terrier to International Icon: The Story of Nipper

It’s #NationalDogDay today so what better time to indulge in a little doggy detection?

If you love dogs – as I do – you can’t help but love the logo made up of a small terrier dog sitting in front of an old gramophone. As a curator at a museum focused on music history, I see this logo on a daily basis on the many Victrolas and 78s we have on display and in our collections. And so I was ready and willing to turn terrier myself and dig deep to find out more about that dog and one of the most recognizable logos in the world.

Close up of small metal plaque bearing the Victor logo.
The Victor Talking Machine Company logo on one of the Victrolas in the museum’s collections. © Birthplace of Country Music; photographer: Haley Hensley

First things first: who is the dog in the logo? The pup in question was a real live dog owned by a theatrical scenic artist named Mark Barraud in Bristol, England in the late 1800s. He was called Nipper, inspired by his penchant for nipping people’s heels. Apparently, as with many terriers, Nipper was also a ratter of great success. He was devoted to his master, often following Barraud on stage for transformation scenes and when he was called to be recognized at the end of the play. After Barraud passed away, Nipper went to live with his brother Francis Barraud, a painter who lived in London.

While obviously a terrier, there has been some debate about Nipper’s exact breed. Some have identified Nipper as a Jack Russell, while others have claimed fox terrier or bull terrier. While looking much like a Jack Russell in the face, Nipper’s long legs seem to disprove that identity. The discussion has even found its way into the pages of the New Yorker and the website of the American Kennel Club, and many now agree that Nipper was actually a mixed-breed made up of the stately fox terrier and the charming bull terrier.

But how did Nipper end up as the model for the Victor logo? In the 1890s, Francis Barraud painted Nipper’s portrait with the dog looking at the horn of a cylinder phonograph, head cocked quizzically as if listening intently to whatever sound it was emitting. The painting was originally called “Dog Looking at and Listening to a Phonograph,” but he later paired the painting with the slogan “His Master’s Voice,” the idea being that the picture showed a dog who missed his dead owner listening to a recording of his master’s voice. Indeed, there were even stories that Nipper was found atop his master’s coffin listening to his voice through a phonograph, but this is just a tall tale.

This being the era of the new technology of phonographs and gramophones, Barraud saw an opportunity and he filed a copyright on the image in February 1899. Soon after he approached the Edison-Bell Company in England to see whether they would be interested in buying the painting to use for advertising their phonograph machines, but they didn’t bite. He then went to Emile Berliner’s Gramophone Company, also in England – executives there expressed interest as long as he could replace the phonograph in the painting with one of their gramophones instead. Easily done and agreed, Barraud was paid 100 pounds sterling for the painting and the copyright, including the slogan “His Master’s Voice.”

Painting of a disc gramophone, Nipper sitting in front of it looking into the shiny brass horn.
“His Master’s Voice” by Francis Barraud, updated with The Gramophone Company’s disc gramophone and its shiny brass horn. Public domain image available on Wikimedia Commons

The design of a dog listening to a gramophone, based on Francis Barraud’s painting, was soon being used to market disc gramophones by Berliner’s company in America, and it helped to launch the products of the Victor Talking Machine Company in 1901. Nipper the trademark became a rallying cry for Victor quality: “Look for the dog, on the horn, on the record, on the cabinet” and “Don’t buy a record without a dog. Imitations have neither the dog nor the loud and clear tone of our records.”

Not only was Nipper seen on the company’s products, but he also adorned their letterhead and envelopes, along with a host of advertising and promotional materials. And of course, the company’s marketers quickly realized that Nipper was an image that would sell other things too. He could be found on reproductions of the paintings and on postcards, and as souvenirs such as paperweights and pen trays. He was even used in satirical cartoons and images such as “His Master’s Vice” where he sits amongst whisky bottles to highlight the dangers of alcohol. And today dedicated Nipper collectors look for his many manifestations in antique stores and on eBay, at collector’s fairs and while digging through estate sales. Indeed, there is an entire book to aid collectors in their search – Nipper Collectibles: The RCA Victor Trademark Dog (a big help in this blog post!).

Three images of small Nipper statuettes, including one beside a Victor gramophone.
A few Nipper collectibles, courtesy of Bob Bledsoe. © Birthplace of Country Music

And the painting of Nipper served as a model for other, more grandiose advertisements for the company over the years, including one of my favorites: a beautiful stained glass window from Victor’s headquarters in Camden, New Jersey, now one of the landmark objects on display in the Smithsonian’s National Museum of American History. And even more impressive: a 28-foot tall, 4-ton Nipper can also be seen on top of a warehouse in Albany, New York.

Round stained-glass window, beautiful colors highlighting the design of the Nipper painting and with the word's His Master's Voice beneath the image. A museum label is seen in front of the window.
Stained glass window from the Victor Company building in Camden, New Jersey, showing Nipper listening to the gramophone now on display at the Smithsonian. Courtesy of Rene Rodgers

There is a long and convoluted history of the evolution of the Victor trademark bearing Nipper to the use of the logo by later iterations of the company and beyond, including RCA Victor, EMI, and HMV (standing for “His Master’s Voice”). But despite Nipper’s significance in the history of the recording industry and of advertising and branding, for me it all comes back to Nipper the dog: a dog that went from being a loyal companion to his two owners and a tenacious hunter of rats and other small beasts to an international icon, recognized the world over.

Finally, just for fun, my search for Nipper info led me to this wonderfully silly video called “Nipper Runs Amok.” Probably not the image best-suited for selling gramophones…

 

 

 

Fiddlers’ Conventions: Summer is the Time for Fiddlin’ Fun!

What do you get when you mix a wide-open outdoor space with camping, musicians, spectators, dancing, ribbons, and prize money? You get a fiddlers’ convention…and that’s no joke!

A view of the Galax Fiddlers' Convention grounds from above -- showing the campground, stage, and other elements.
View of the Galax Fiddlers’ Convention grounds. Photo by Trish Kilby Fore

For those who are unfamiliar with fiddlers’ conventions, these events take place all over the United States, and there’s a hotbed of them right here in this region of northwest North Carolina, southwest Virginia, and northeast Tennessee. Basically, a fiddlers’ convention is an event that is sponsored by a community or civic group as a fundraiser for their organization. Often a convention will occur the same weekend each year, so everyone will know when it is and save the date so they can attend year after year. Lots of musicians and music lovers follow the fiddlers’ convention circuit throughout the summer, going to one every few weekends.

Camping is a big part of many fiddlers’ conventions, and the magic of sleeping under the stars amongst a group of like-minded people certainly promotes a greater sense of community among listeners and musicians. The campground is where musicians jam, learn new tunes, and practice to get ready for the upcoming contests, including individual instruments, old-time and bluegrass bands, and flatfoot dance categories. Where there is music at the campground, a good-sized audience of music lovers is sure to also gather to watch the contests, listen to the music, dance, and socialize together. Out in the field of campers is where some of the best music can be heard – an added bonus!

The convention competitions are exciting to watch and also filled with amazing music. Each on-stage contest performance is assigned a score on a numerical scale by a group of judges, all experienced musicians. The judges’ scores are averaged by the convention organizers, and the performances are ranked according to their average score. At the end of the contests on Saturday night, everyone goes to the stage for the presentation of ribbons and prize money to the winning musicians and bands who have earned the highest scores. After the contests are over and the prizes are awarded, musicians go back to their camps to continue playing, dancing, and frolicking late into the night. There’s no end to the good music!

Historically, fiddlers’ contests and conventions have been around for a long time. The print edition of the Encyclopedia of Appalachia notes that the first fiddling contest in America was held in 1736 in Hanover County, Virginia. The oldest fiddlers’ convention in this region is the Johnson County Fiddlers’ Convention, which is coming up this Friday and Saturday, August 24—25, 2018, at the Old Mill Music Park in Laurel Bloomery, Tennessee. This year will be the Johnson County Fiddlers’ Convention’s 93rd anniversary!

Large group of musicians standing with their instruments in front of what looks to be a large church or civic building; the five members of The Powers Family are seen in the center of the group.
The Powers Family (center), one of the early hillbilly family bands, is seen here with a large groups of musicians at a music competition in the 1920s or 1930s. Courtesy of James Powers and Stephanie Collins

The largest fiddlers’ convention in this region is the Galax Old Fiddlers’ Convention, which always takes place the second week of August. The founder was Dr. W. P. Davis, who thought of the idea as a fundraiser for the Galax Moose Lodge and involved the school’s Parent Teacher Association so the school could be used for the location. The first convention was held in April of 1935; this year marked the 83rd annual convention. Since that first fiddlers’ convention, Galax has become well-known as the World Capital of Old-Time Mountain Music, and people from all over the world come to attend the convention at Galax.

Each year, I take vacation time to attend the Galax Old Fiddlers’ Convention. It is a special time for me – some of my best musical memories and dearest friendships have been made there. The thing I love most about Galax is visiting with friends and playing music with folks that I don’t get to see on a regular basis; indeed, seeing people at Galax is similar to attending a big musical family reunion. And, of course, old-time music is dance music, and I love to see people flatfoot dancing on the small, portable dance boards they carry with them from one jam session to another. I also love meeting people and making new friends, easy to do at any fiddlers’ convention. I’m also realizing now that I’m no longer the younger generation, so I love seeing young folks becoming part of this community and playing music.

This year, my husband Kevin and I made two new friends at Galax who traveled long distances to attend the event: Ulf Lidberg and Marc Menish. Lidberg, who made the trip from Stockholm, Sweden, plays guitar, banjo and fiddle, loves old-time music, and followed the advice of a friend who told him he should come to Galax. Menish teaches Media Studies at Aoyama University in Tokyo, Japan, and he is making a documentary on the history, development, and characteristics of old-time music. When asked why he came to Galax, he said he wanted to video jams and to experience the music in an up-close and personal way – he definitely came to the right place!

Close up of Ulf Lidberg, wearing a baseball cap, playing a banjo.
Ulf Lidberg from Stockholm, Sweden, playing a fretless banjo made by Kevin Fore. Photo by Kevin Fore

In recent years, there’s been a trend to get young musicians involved in the fiddlers’ convention tradition, and so Galax begins on Monday night with a large youth competition. I think it’s an excellent way to give young musicians the experience of playing on the Galax stage and to compete against other youngsters of a similar playing ability so they don’t have to compete against adults unless they choose to do so. Winning a prize in the youth contest helps young musicians gain a sense of accomplishment and provides a lot of encouragement to continue playing music.

Two youth musicians on stage -- the one to the left on guitar, the one to the right on mandolin.
Hazel Pasley, from Sparta, North Carolina, participating in the youth guitar competition. Photo by Trish Kilby Fore

Going to the fiddlers’ conventions is one of my all-time favorite things to do as a musician. You never know who you might see or get to play with or what might happen! There’s an excitement in the summer night air that binds people together. If you’ve never been to a fiddlers’ convention, start planning to get to one as as soon as you can!

Trish Kilby Fore standing near the performance stage with her second place ribbon.
Me with my second place ribbon from the clawhammer banjo contest, Galax Old Fiddlers’ Convention 2018 – an exciting night for me! Photo by Dennis Hines

 

The Banjo Gathering: Exploring Banjo History and the American Experience

I came to the banjo in the early months of 1994, at the age of 19, when I saw a PBS broadcast of the documentary The Weavers: Wasn’t That a Time! (1981). In addition to being entranced by depictions of the banjo in the hands of the great Pete Seeger (1919—2014), I was also deeply moved by what I felt to be a positive sense of community projected in the film. It was a major turning point as I became transfixed, learning about how the power of music shaped various social movements in the 20th century. Within the next year, after getting my own banjo, I discovered that the instrument could serve as a gateway to learning about American history in ways that I had never before experienced.

Now, after 24 years of chasing the banjo and its long, complex history, I often reflect on the incredible people I’ve collaborated with through the years, building on that sense of community that attracted me to the banjo in the first place. I’ve enjoyed many rich opportunities to learn from a great diversity of individuals and traditions in the Americas, West Africa, and Europe. Here in the United States, some of the most significant people I’ve known in the banjo world are associated with the annual Banjo Gathering. Formerly called the Banjo Collectors Gathering, this event has informed many aspects of my life as an archivist, ethnomusicologist, and musician.

Since 1998, this informal network of collectors, researchers, instrument builders, and musicians has shaped the way people understand and appreciate the banjo’s deep links within the greater American experience. What makes the Banjo Gathering distinct from other banjo-centric events is that its founders – banjo collectors and scholars Peter Szego and Jim Bollman – have maintained the event to focus entirely on the banjo ​as a historical, cultural, and design object.

Each Gathering has met in a range of locations along the east coast with geographic significance to banjo history, such as Rochester, Boston, Long Island, Philadelphia, Baltimore, Washington, D.C., Nashville, Knoxville, Tennessee, and Williamsburg, Virginia. This year, the Banjo Gathering is celebrating its 20th anniversary (1998—2018) on November 1—4 by convening at Bristol’s Birthplace of Country Music Museum (BCMM). Here, registered participants will experience the Gathering’s signature activities while exploring the banjo’s intersections with the museum’s mission to illuminate Bristol’s role in the birth and development of country music.

One of those signature activities is an “expo,” which will occupy the museum’s Special Exhibits Gallery. In this space, attendees will display instruments and ephemera predominantly from the 19th and early 20th centuries, and they will also get the chance to network and to talk in a more casual atmosphere.

Three pictures from Banjo Gathering 2017: Several banjos displayed on stands at the expo (left); two men looking at a banjo being held by a third man (top right); a display of banjos and related ephemera on a table with one male visitor (bottom right).
The “expo” at the 2016 Banjo Gathering: Display tables filled with banjos (left); attendees Andy Fitzgibbon, Kevin Enoch, and Richard Jones-Bamman discussing a banjo during a break between presentations (top right); attendee Chris Witulski visits display tables filled with banjos and related instruments (bottom right). Photographs courtesy of Kristina Gaddy / Banjo Gathering

The Gathering also provides a platform for the latest scholarship, talks, and panel discussions on banjo history. As outlined on the Banjo Gathering website, the event welcomes presentation proposals that cover:

* The art and craft of banjo-making from early gourd instruments to contemporary banjos

* The banjo’s role in the early recordings and music and dance in genres such as minstrelsy, jazz, country, old time, and bluegrass

* The American experience through banjo history, including the African Diaspora; America’s history of slavery, racism, and resistance; and social class and cultural stereotypes

Three pics: Man holding a banjo while discussing it in a presentation (left); man holding a mic in front of a PowerPoint presentation (center); man facing a large audience with his arms held wide and a Edison recording machine with morning glory horn to his left (right).
Two presenters from the 2016 Banjo Gathering – Brooks Masten (left) and Christopher Dean (center) – share their knowledge about banjo-building traditions. Jerry Fabris, a 2014 Banjo Gathering presenter, explains early Edison recording equipment that was used at the Gathering to demonstrate historical recording techniques for the banjo (right). Photographs courtesy of Kristina Gaddy / Banjo Gathering

Every Gathering also typically includes site visits and field trips to locations that add value to the narratives surrounding banjo history.

Two pics: Several Banjo Gathering attendees in the one of the Met Museum's galleries being shown a banjo by a curator (left); several participants looking at a variety of banjos and related ephemera on a table in a museum education room (right).
In 2014 Banjo Gathering attendees visited the banjo holdings at the Met in New York City (left), and in 2017 participants got the chance to view a cross-section of the banjos and related ephemera in the collections of the Smithsonian National Museum of American History (right). Photographs courtesy of Kristina Gaddy / Banjo Gathering (left) and Greg Adams (right)

I attended my first Banjo Gathering in 2001 at the invitation of banjo builder and historian George Wunderlich, and I’ve only missed one Gathering since that time. I keep coming back year after year because I see the constant potential of tapping into the knowledge of other attendees, exploring the instruments and ephemera they bring, and brainstorming ways of applying that knowledge in public-facing outputs. A goodly number of exhibits, books, and recordings have grown out of this event, and 2018 looks like it will maintain this trend.

What makes the 20th Anniversary Banjo Gathering particularly special for me is that it coincides with the University of Illinois Press publication of Banjo Roots and Branches, edited by Robert B. Winans. Many of the authors of this highly anticipated book are regular Banjo Gathering attendees. The book’s subtitle – West African precursors, African-Caribbean origins, North American journeys – measures the breadth of dedication and influence that the Banjo Gathering represents. The book not only pays homage to another University of Illinois Press author – Dena Epstein and her book Sinful Tunes and Spirituals – but it is also dedicated to Shlomo Pestcoe (1958—2015), who was a part of the greater Banjo Collectors community and a driving force behind the book.

Book cover of Banjo Roots and Branches -- blue background with a banjo shape bearing tree branches and roots.
The book cover of Banjo Roots and Branches makes a strong statement with its graphic design. Image from the University of Illinois Press website, where the book can be purchased.

For some attendees, the Banjo Gathering is just a good time to get together with friends who like to collect similar things and to talk about their passion. For others, this event provides access to primary source materials that illuminate banjo history in ways that do not exist anywhere else. For me, I see the Banjo Gathering as an opportunity to ask questions about what it means to understand the American experience using an instrument whose history has the power to challenge and inspire.

Come explore what banjo history and the American experience means to you when you reserve your place at the Banjo Gathering!

 

Pedro Cooper: Music Remade

Franklin County, Virginia, is at the eastern end of The Crooked Road, Virginia’s Heritage Music Trail. Today it’s known for good fishing and boating on Smith Mountain Lake and Philpott Lake, located at the northeastern and southwestern edges of the county.  Before the lakes were created, Franklin County was known for its tobacco, dairy farms, apple orchards, and moonshine – indeed, it is called the Moonshine Capital of the World. A number of woodworking and textile plants were located in Rocky Mount, the county seat, and nearby companies like DuPont and Bassett Furniture competed for factory laborers.

But Franklin County isn’t just famous for moonshine and outdoor pursuits. It has also been home or the home-away-from-home for a number of storied musicians, not least of which was Charlie Poole (1892–1931), the North Carolina singer and banjo player. Charlie’s friend, musical partner, and later brother-in-law Posey Rorer (1891–1936), was born in Franklin County. Both would have been familiar with the musicians in the area – and, of course, the famed local moonshine.

One of Franklin County’s finest musicians, however, was a man you might not have heard of – Avery Nelson “Pedro” Cooper (1924–2001), a self-taught musician who played banjo, guitar, Dobro, mandolin, and fiddle. Pedro was born without a left hip joint, and at that time, there were no surgical options. According to his brother Cash Cooper, when Pedro was born, the doctor told his mother that “if he lived to be 12 years old, they would be fortunate to have him that long.” Pedro wore a built-up shoe to give him a “more steady walk.”

According to his 1942 Selective Service Registration, Pedro worked for barber Eldridge Martin. Cash reported that Pedro did shoeshining at the barber shop and did pretty well in tips. An article about the Palace Barber Shop in the September 17, 1953 “Tobacco Market Edition” of the Franklin News Post reports that “’Pedro’ Cooper has his shoeshine stand in the Palace Barber Shop and is known for the best shoeshines in town. He is also considered one of the better musicians in and around Franklin County.”

Left image is advertisement for the Rocky Mount Tobacco Market, which lists Pedro Cooper as "shoeshiner.' The right image is a clip from the paper describing Pedro Cooper's work as a shoeshiner and musician.
The September 17, 1953, edition of the Franklin News Post highlighted Pedro’s work as a shoeshine man.

Pedro was particularly enamored with the banjo, especially with Earl Scruggs’s three-finger roll technique. He was in several bands through the years, playing for dances and other events. One of the bands he played with performed on WMVA radio out of Martinsville, Virginia, and on WREV radio in Reidsville, North Carolina, in the 1950s. Pedro often had friends over to jam on Sunday afternoons; fiddler Tommy Magness and banjoist Rudy Lyle, both of Bill Monroe and the Bluegrass Boys fame, would visit and play with Pedro when they were in the area. Magness left Monroe to play with Roy Hall and his Blue Ridge Entertainers (based for a time in Roanoke, Virginia) and later with Magness’s Orange Blossom Boys. Magness also played shows for WDBJ in Roanoke (just north of Rocky Mount). Lyle was a Franklin County native and would return to visit family and friends, with visits documented in the local newspaper.

In 1972 Pedro married Doris Thurman, relatively late in life for both of them. It was their first and only marriage. Doris also loved music, and she and Pedro met at a friend’s while he was playing music. At local jams and get-togethers, you might hear Doris say she wasn’t feeling good, but when the music started, she’d frequently get up and flatfoot a bit!

At some point, Pedro went to work at Lane Furniture as a cleaner in the machine room – sweeping up the sawdust, clearing the wood scraps, etc. For those who have not been in a woodworking factory, it’s often hard, repetitive physical work on concrete floors. It’s usually either hot or cold, quite dirty, and one works around noisy and dangerous machinery. For Pedro, it had to have been more difficult work without his left hip joint – constantly bending and stooping, and walking and standing on unforgiving cement floors.

Machine operators are supposed to turn the machines off and turn on locks to stop the various blades when they step away or when the machine area is being cleaned. But people don’t always follow the safety rules, and accidents happen. And so one happened to Pedro in 1974 when he lost his left hand and forearm at a bandsaw machine. Afterwards he was fitted with a prosthetic hook that enabled him to grip items. Pedro’s brother Cash states: “He didn’t make any music for a good while, but someone mentioned or inspired him [to use a wooden peg].” Pedro would lay the instrument (banjo, guitar, or Dobro) across his lap and would use the wooden peg or dowel in his prosthetic hook to note the instrument.

The back cover of the 1976 Pumpkin Vines album with the photograph of Pedro Cooper sitting with his banjo across his lap and the pegs that helped him play attached to his prosthetic hook, the song list for both sides, and a biography of all the band's members.
The back cover of the 1976 Pumpkin Vines album bears a photograph of Pedro Cooper sitting with his banjo across his lap and the pegs that helped him play attached to his prosthetic hook. Album released by Outlet Records

While he couldn’t navigate the fretboard as he did before, he developed a new technique and continued to perform with The Pumpkin Vines, a band he and fiddler Elva Phillips had established. The band was named after the Norfolk & Western railroad line that went through Franklin, Henry, and Patrick Counties in Virginia, and was called the Pumpkin Vine because the route twisted and turned like a growing vine. The Pumpkin Vines released two albums on Outlet Records (out of Rocky Mount, Virginia) in 1976 and 1977 featuring old-time, bluegrass, and gospel tunes. Live recordings of Pedro and the Pumpkin Vines, made at the 1982 Blue Ridge Folklife Festival at Ferrum, Virginia, are available through the Digital Library of Appalachia. The tunes “John Hardy” and “Under the Double Eagle” are particularly fine examples of Pedro’s post-accident banjo style.

The photograph shows six band members -- five women playing autoharps, guitars, and fiddle, and Pedro on banjo. They are posted standing on a railway line.
The front cover of the 1976 Pumpkin Vines album: the band stands on a railway line, presumably that of the Norfolk & Western. Album released by Outlet Records

I was lucky enough to know Pedro and Doris as family friends; we went to the same church, and our families were often at the same events. People would bring food to share at these gatherings, and a core group of folks brought instruments and played music together. When the music was particularly tight, some folks would get up and flatfoot. Pedro and Doris visited at my parents’ home in Rocky Mount one summer. I had a tape recorder and asked permission to record the music. My father had been after me to learn to play “Down Yonder” as Del Wood did on the Grand Ole Opry, and so he asked Pedro to play it for me on the banjo. I don’t know that Pedro had ever played it, but he gave it a go in the home recording below with my mother accompanying him softly on guitar. At the end you can hear Pedro, ever humble, saying: “That’s not exactly right, either.”

Pedro Cooper made music a big part of his life while facing disability and hard times, and he then later overcame a horrible factory accident to remake his musical self, not letting go of the songs and tunes he’d played his entire life. And so remember Pedro should you travel the eastern end of The Crooked Road, near the route of the Pumpkin Vine rail line.

West Virginians and the Birth of Country Music

West Virginia marks its admission to the Union on June 20, and with this anniversary, it is common practice to celebrate all the contributions West Virginians have made in history through the decades. There are many contributions for us to be proud of, but the ones that are closest to my heart are those made by a few men from Bluefield and Mercer County that became part of the history of the birth of country music.

In 1927 Ralph Peer, a talent scout and recording engineer for Victor Talking Machine Company, searched the south, including Appalachia, for new talent. After setting up a makeshift recording studio in Bristol, Tennessee-Virginia, he spent two weeks with various singers and musicians that came out of the mountains for a chance to record. Today when people think of the Bristol Sessions they often think first of Ernest Stoneman, The Carter Family – known as the First Family of Country Music – and Jimmie Rogers – referred to as the Father of Country Music – but all the musicians who recorded there still influence music today.

West Virginia was part of that important history – the state was represented at those recordings by Blind Alfred Reed and the West Virginia Coon Hunters.

Alfred Reed was born blind in 1880 in Floyd County, Virginia, the son of Riley and Charlotte Akers Reed. According to census records, they originally hailed from the Alum Ridge/Indian Valley area of Floyd County, Virginia. Their family, like others, migrated to Bluefield, West Virginia, in search of work. Bluefield was central to the coal boom, especially since it was a railroad hub, and it brought many workers to the coal fields from other areas. In 1927, the year of the Bristol Sessions, Reed and his wife Nettie and several of their children were living in Bluefield on Lilly Road. They are listed in the 1927 Bluefield City Directory with Reed’s occupation noted as music teacher. He made his living playing music long before the Bristol Sessions.

Photograph of Fred Pendleton holding a fiddle and Blind Alfred Reed holding a fiddle, standing in front of a sign advertising Reed's performance.
Songwriter, singer, and fiddler Blind Alfred Reed. The man to the left is Fred Pendleton, a member of the West Virginia Coon Hunters. Courtesy of Goldenseal Magazine

There has been a lot of speculation about the many ways that all that musical talent came to Bristol in 1927. Were they brought there by advertising, handbills, or word of mouth? Newspaper and obituary accounts recount that Ralph Peer attended a convention around this time – presumably a fiddlers’ convention – and heard Blind Alfred Reed’s rendition of “The Wreck of the Virginian.” It makes sense that Peer, as a talent scout, would go to where music was being played in the summer of 1927 and invite musicians too. I would argue that invitation could have been one of the methods to bring musicians to Bristol because of the type of music he seemed to be looking for and the type of music he ended up recording.  And so Peer, after hearing Reed, might have invited him to Bristol.

The song “The Wreck of the Virginian” would have personal appeal for Reed. Several of his family worked for the railroads. For instance, his brothers Monroe and Matthew Reed worked for the B&O Railroad. His son Collins D. Reed is listed in the 1927 Bluefield City Directory as living with him and working as a machinist for the Virginian Railway Co. His other son Arville Reed, who played guitar on three of the songs at Bristol, is also listed in the 1927 Bluefield City Directory as living with him and as working as a brakeman on the B&O Railroad. Arville’s name is misspelled as Orville in several records.

Blind Alfred Reed recorded four songs for Peer: “The Wreck of the Virginian,” “I Mean to Live for Jesus,” “You Must Unload,” and “Walking in the Way with Jesus.” Reed continued recording until 1929, the year when his most famous side was released: “How Can a Poor Man Stand Such Times and Live?,” a song that has been modified and sung in modern times by musical artists such as Bruce Springsteen and Ry Cooder.

We don’t know the reason why Reed quit recording in 1929 – there is only speculation on that front – but we do know that he still played music locally and became a lay preacher for the Methodist church. He and his family moved around Mercer County, and for a time, he was a street musician in Princeton until the city created an ordinance against busking in 1937. Today there is a mural in his memory on Main Street in Princeton and so he has become a permanent fixture on the street he was once forbidden to play on. Blind Alfred Reed died in 1956 and is buried in Elgood, West Virginia; in 2007 he was inducted into the first class of the West Virginia Hall of Fame.

Large building with a caricature-like portrait of Blind Alfred Reed playing his fiddle on one side.
Blind Alfred Reed Mural on Mercer Street in Princeton, West Virginia, painted by Charleston artist Jeff Pierson. The artist made Reed’s ears bigger because he was a musician and his ears would have been his “tools.” Photograph © Denise Smith

Most members of the West Virginia Coon Hunters also hailed from Bluefield and the surrounding area, many migrating there for the same reasons as Reed’s family. The band recorded two songs on August 5, the last day of the 1927 Bristol Sessions: “Your Blue Eyes Run Me Crazy” and “Greasy String.”

Full group of West Virginia Coon Hunters band: Belcher, Meadows, and Brown are holding guitars; Vest is holding a mandolin; Stewart, Mooney, and Stephens are holding banjos; and Boyles and Pendleton are holding fiddles.
The West Virginia Coon Hunters, standing left to right: Fred Belcher, Clyde S. Meadows, Jim Brown, and Vernal Vest; seated left to right: Dutch Stewart, Wesley “Bane” Boyles, Regal Mooney, Fred Pendleton, and Joe Stephens. From the Birthplace of Country Music Museum Collection, gift of Denise Smith

There are several pictures of the West Virginia Coon Hunters from this time. One is the large group photo of nine musicians seen above, but several simply show four of the men and the full group didn’t play on the songs recorded at the Bristol Sessions. The record has Clyde S. Meadows and my grandfather Wesley “Bane” Boyles included on its label – they are also in the pictures of the smaller group and the large group. However, the record has Clyde’s name as C. A. Meadows (and on the session sheet it is mis-written as W. A. Meadows), while on one side of the record, W. B. Boyles was misspelled to W. B. Bayles.

Four members of the West Virginia Coon Hunters: two standing with guitars, and two sitting, one with fiddle and one with banjo.
The smaller group of the West Virginia Coon Hunters: Wesley “Bane” Boyles on fiddle, Joe Stephens on banjo, Fred Belcher on guitar, and Clyde Meadows on guitar. Image courtesy of Denise Smith, given to her by John Lilly at Goldenseal Magazine

I’ve tried to track down the personal histories of where each of the members of the band was living in 1927. Several of the band members had migrated to West Virginia, and all of them seemed to be living in and around Mercer County – many were found in the 1927 Bluefield City Directory or had connections to Bluefield. Most continued to play and influence music here in this region for generations.

Wesley “Bane” Boyles, my grandfather, was born in Bland County; in 1927 he was living in Bluefield at 501 Rogers Street with his parents and brothers. He was a moonshiner by occupation so unsurprisingly there was no occupation listed in the 1927 Bluefield City Directory! To read more of his story, check out my own blog.

In 1927 Clyde Meadows is listed as living at 717 Hardy Street in Bluefield. His occupation was noted as engine cleaner for the Norfolk & Western Railway. More of his story can be found in the Spring 2003 issue of Goldenseal Magazine in an article by John Lilly entitled “The West Virginia Coon Hunters: On the Trail of a Lost String Band.”

Vernal Leonidas Vest was a mandolin and ukulele player. He was a true son of West Virginia, born in Summers County to Salunda Jackson and Emma Robbins Vest. In 1927 he was living in Oakvale, West Virginia, and the 1930 census has his occupation listed as a fireman on the railroad. His brother Robert Vest lived in Bluefield in 1927 and worked for the Virginian Railway. In 1930 and 1931 Vernal also recorded with fiddler Fred Pendleton’s West Virginia Melody Boys.

Fred Pendleton was born George Fredrick Pendleton to George Woodruff and Matilda Blankenship Pendleton in 1904 in Princeton, West Virginia; in the records he is listed as George Frederick or Fred G. Pendleton. In 1920 Pendleton was living with his parents on a farm in Oakvale, West Virginia, and by 1930, he was living in Princeton and also working for the railroad as a repairman on steam trains.

Pendleton is one of the most locally famous musicians after the 1927 Bristol Sessions, and he and Clyde Meadows continued to have recording careers as the West Virginia Coon Hunters for a while after they recorded in Bristol. Indeed, Peer asked them to return to Bristol to record again in 1928. Pendleton also recorded with Blind Alfred Reed and his son Arville for Victor later in 1927, as a group called the West Virginia Night Owls.

Pendleton can be found in newspaper articles and ads playing numerous events in West Virginia and beyond – everything from a reunion to a political rally, though my favorite is the Calico Frolic. In over 50 West Virginia news articles, his bands are listed playing events under many different names such as the Fred Pendleton Orchestra, Fred Pendleton’s Lilly Mountaineers, Fred Pendleton’s Swingsters, Fred Pendleton’s Hillbilly Band, etc. As long as his name was first, whoever joined him seemed to form a new band, at least for the event. He also was elected as a commissioner of Mercer County in the 1950s. He passed away in Princeton, West Virginia, in 1972.

Two newspaper articles / ads -- the one to the left is just text, while the one on the right includes the image of a woman in a bathing suit.
The ad on the left is for the “Calico Frolic,” found in the Beckley Post-Herald & Register, May 6, 1956, page 23 – Fred Pendleton’s and His Swingsters played this event. The ad to the right notes that Fred Pendleton’s Orchestra will be providing music for square and combination dancing at the 4th of July festivities.

Regal Mooney was born Ovid Riggle Mooney in Tazewell County, Virginia, to Charles and Barbara Cruey Mooney. His father worked for the N&W Railway freight station in Williamson, West Virginia. In 1927 his father had passed and he was living with his mother and his wife Lake Palmer Mooney on Hale Street in Bluefield. His occupation at this time was listed as coil maker. I don’t have much information about his musical career, but he died in Columbus, Ohio, in 1973.

The rest of the band led to scanty information. Jim Brown worked for the Foley Printing Company and was also the music teacher at the Bland Methodist Episcopal Church in Bluefield. Joe Stephens – possibly Joseph H. Stevens – was a truck driver for Holt Brothers living at 305 Roanoke Street, a couple of blocks away from Fred Belcher at 113 ½ Roanoke Street, according to the 1927 Bluefield City Directory. And finally the most elusive band member: Dutch Stewart. I could find no one by that specific name though many Stewarts are listed in Bluefield and Mercer County during this timeframe.

Each of these men lived every day and ordinary lives, with music being an important part of those lives – and no matter their station in life, for a brief period of time, they came together in Bristol, Tennessee -Virginia and represented West Virginia at the “big bang” of country music.

Happy Birthday to Ernest Phipps!

There’s an old church joke about when Jesus returned to heaven after his time on earth. All the angels gather around to celebrate Jesus’s success overcoming death, and someone asks, “So now what’s the plan? How are we going to tell the world the good news?” Gabriel offers to blow his trumpet. Michael suggests a multitude of heavenly hosts. Jesus looks at the angels and says, “I’ve got it covered. I told these twelve guys, and they’re going to tell some people, and then those people will tell some people…”

As ridiculous as this sounded to the angels, this method of sharing the gospel tells us something about the music and ministry of Ernest Phipps of Gray, Kentucky, who was born on May 4, 1900. Ernest Phipps and His Holiness Quartet recorded six sides on Tuesday, July 26, the second day of Ralph Peer’s 1927 Bristol Sessions. Their recording of “Don’t You Grieve After Me” was issued with the earliest Bristol Sessions serial number and released in the first batch of Bristol sides in September 1927.

The music Phipps and His Holiness Quartet made in 1927 sounds like spirited old-time music. Phipps sings lead accompanied by a high harmony; a guitar or two and fiddle back the singing, and the fiddle plays the melody on instrumental breaks. Charles Wolfe conjectured that Ancil McVay played guitar and Roland Johnson played fiddle and that perhaps Alfred Karnes, another preacher from the Corbin area who recorded his own gospel sides that week, played the driving guitar bass runs. The singing and playing are raw and real, someone stomps on the one and three, and the distinguishing element of these songs, particularly “Do, Lord, Remember Me” and “Old Ship of Zion,” is a galloping, deep-in-the-beat feel.

Reproduction Victor label of Ernest Phipps and the Holiness Quartet's "Do Lord Remember Me" showing the Victor Nipper logo and the name of the song and singers.
Reproduction Victor label of Ernest Phipps and His Holiness Quartet’s “Do, Lord, Remember Me.” Photograph © Birthplace of Country Music

Phipps worked his whole life in the coal business, as a miner, a truck driver, and later as co-owner of a small operation. He also preached and sang in the Holiness churches around Corbin, Kentucky from the 1920s until his death in 1963, minus a few years he was in the army during World War II. Much of what we know of his life comes from his youngest sister, Lillian McDaniel, and his stepsons W. R. and J. Randall Mays. Their memories do not fill in the whole picture of Phipps’s life, but they tell us enough to know that his ministry was his major focus, and that his music was likely a component of his ministry. He often visited churches to preach, and would also sing, but no one remembers his visiting churches to sing and not preach.

The picture to the left show Ernest Phipps in front of a bridge at the side of the lake; he is holding a fishing pole. The picture to the right shows Ernest Phipps, wife Minnie, and an unknown women perched on top of a "stack" of rocks above a river plain.
Ernest Phipps loved fishing and is pictured here at Cherokee Lake sometime around 1953. In the picture on the right, he is seen with his first wife Minnie and a friend posing on a rock outcrop; a historic site marker nearby references the Civil War’s Battle of Wauhatchie. Left: Courtesy of Rev. J. Randall Mays and Rev. W. R. Mays, stepsons of Rev. Ernest Phipps; Right: Donated to the Birthplace of Country Music Museum by Teresa Phipps Patierno in the memory of her grandfather, Ernest Phipps, a coal miner and Holiness preacher from Kentucky, a simple man who loved his Lord.

The idea that Phipps’s recorded music constitutes an early form of mass media evangelism may involve projecting motives from our time onto his, but nothing in Phipps’s story suggests that he sought a career in music; however, much evidence exists that Phipps sought to share his faith. When he returned to Bristol in October 1928, he brought eight members of his congregation – three female vocalists and five instrumentalists – who recorded six songs that “give us some sense of the power and drive of a real Holiness service,” in the words of Charles Wolfe. The group vocals shift moment to moment between harmony and unison singing and overpower the instrumentation on most songs. The string band groove of Phipps’s 1927 sides is replaced here with a less precise but no less energetic backing shuffle. During refrains, a chorus of handclaps on the one, two, three, and four beats propels these songs into a frenetic pace. These sides sound more like field recordings of a church service than commercial records, but Ernest Phipps and Ralph Peer were onto something: “If the Light Has Gone Out of Your Soul” backed with “Bright Tomorrow” sold almost 12,000 copies.

Here’s “Went Up In The Clouds Of Heaven,” one of the songs recorded by Ernest Phipps and His Holiness Singers at the 1928 Bristol Sessions:

 

Phipps’s recordings, especially from the 1928 sessions, have sent folk music scholars and fans in a number of interesting directions. Charles Wolfe remarked that Phipps’s recordings preserve “rare examples of the exuberant, ragged, hand-clapping Holiness music” of 1920s Appalachia, particularly Eastern Kentucky. Harry Smith included “Shine on Me” from the 1928 Sessions in his Anthology of American Folk Music alongside the most important American folk musicians of the first half of the 20th century. My work on Phipps suggests that his recordings pioneer a Southern Gospel music antithetical to the harmony singing of the Stamps Quartet, who also recorded at the 1928 Bristol Sessions.

Simple photograph of The Anthology of American Folk Music CD set.
The cover of Harry Smith’s Anthology of American Folk Music.

Because of the spirit it preserves and represents, Phipps’s music has lived a remarkable life of its own. The life of Ernest Phipps suggests that his brief recording career served a purpose: to share the gospel with as many people as he could.

Brandon Story teaches English at King University in Bristol, Tennessee. His chapter “Gospel According to Bristol: The Life, Music and Ministry of Ernest Phipps” appears in Charles Wolfe and Ted Olson’s The Bristol Sessions: Writing About the Big Bang of Country Music.