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Adams, Nancy. 2016. "The West Virginia Music Hall of Fame: Class of 2015." Goldenseal: West Virginia Traditional Life 42, no. 1 (Spring): 29-36. Inductees: Ed Haley, Buddy Starcher, Harry Vann "Piano Man" Walls, John Ellison, Bob Thompson, and Russ Hicks.
Andrade, Roy. 2015. "Birthplace of Country Music Museum" [Bristol, Va.]. Old-Time Herald 14, no 2. http://www.oldtimeherald.org/archive/back_issues/volume-14/14-2/index.html.
Andrade, Roy. 2015. "Scott Boatright: Make Them Sad and Then Make Them Happy" [Tenn.; guitar, banjo; 1920s-30s]. Old-Time Herald 13, no 12. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-12/index.html.
Annual Instrument Issue. 2013. Bluegrass Unlimited 47, no. 9 (March): 26-52. Four feature articles: "Ken Hooper: Guitarmaking Where Excellence Is Only the Starting Point," by David McCarty | "Gibson Banjo Catalog Reprints/Gibson Banjo Information," by Tom Morgan | "Gerald Anderson: Virginia Mountain Guitar and Mandolin Maker," by Robert C. Buckingham | "R.Q. Jones: Putting the "Q" in Quintessential Dobro," by Lee Kotick.
Appalachia South Folklife Center Turns 50 [photo essay; Pipestem, W. Va.]. 2015. Goldenseal: West Virginia Traditional Life 41, no. 3 (Fall): 42-53. Three days of music, dance, and art celebrated the center, "a focal point for the folk revival movement in Appalachia during the 1960s and '70s." Sidebar on Don West (1906-1992) who, with wife Connie, founded the center in 1965. West also co-founded the Highlander Folk Center in Tennessee.
Appalachian Music Special Edition. 2015. Appalachian Journal 42, no. 3-4 (Spring-Summer): 144-446. Guest editors, Mark Freed and Trevor McKenzie. Roundtables, essays, poetry, interviews, photos, a musical drama, film and book reviews. "Our goal for this special edition...is to provide a look at the broad spectrum of Appalachian musical sounds, styles, artists, and perspectives, and offer conversation starters for both the common core and contemporary score."
Bidgood, Lee. 2013. "Sounding Place: Performing Appalachia in a Small Czech Town." Now & Then: The Appalachian Magazine 28, no. 2 (Winter): 61-63. Highlights of ETSU's Old Time Pride Band's thirteen day trip which included an old-time music workshop and a performance at a bluegrass festival.
Bidgood, Lee. 2014. "Finding Country Music and Community in the Tri-Cities" [Kingsport and Johnson City, Tenn.; and Bristol, Tenn./Va.]. Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 6-7. Multimedia electronic scrapbook curated for a Reece Museum kiosk at ETSU.
Boner, Daniel. 2014. "Right in the Middle of It: A Great Musical Migration." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 60-61. Profile of "one of the last musicians from the...generation of South Jersey musical patriarchs." Ivan Sexton migrated from Floyd County, Ky., and played with many greats at the Chicken Coop in Bridgeton, Cumberland Co., N.J. Author Dan Boner is director of Bluegrass, Old Time, and Country Music Studies at ETSU.
Brunk, Robert S. 2016. "Guided by Voices: Finding Grace through Shape-Note Singing." Virginia Quarterly Review 92, no. 1 (Winter): 130-139.
Bryant, Don. 2014. "Mac Wiseman" [profile]. Bluegrass Unlimited 49, no. 3 (September): 24-27. Guitarist, singer, b. 1925.
Cantwell, David. 2016. "Ralph Stanley's Inimitable Voice" [1927-2016]. New Yorker, 26 June. 1,726 words. http://www.newyorker.com/culture/culture-desk/ralph-stanleys-inimitable-voice.
Cardwell, Nancy. 2013. "Dixie Hall: Gifted Songwriter, Organizer, and Patron Saint of Bluegrass: Fifty Years in the Music Business." Bluegrass Unlimited 48, no. 5 (November): 14-17.
Cardwell, Nancy. 2015. "Dixie Hall" [d. Jan. 16]. Bluegrass Unlimited 49, no. 9 (March): 20-21. Married to Tom T. Hall for 46 years, more than 500 of Dixie's songs have been recorded by artists.
Carlson, Elizabeth. 2016. North Carolina String Music Masters: Old-Time and Bluegrass Legends. Charleston, S.C.: History Press. 175 pp. Contents: Foreword, by Paul Brown | Introduction: What's the Difference Between Old-Time and Bluegrass? | Charlie Poole: Vision | Tommy Jarrell: Community | Joe Thompson: Staying Power | Doc Watson: Courage | Earl Scruggs: Local Roots of the Banjo Master | David Holt: The Healing Power of Music | Rhiannon Giddens: Carolina Chocolate Drop | Conclusion: Get Involved | Selected Bibliography.
Cash, Johnny. 2014. Recollections by J. R. Cash: Childhood Memories of Johnny Cash. Edited by Tara Cash Schwoebel [Cash's youngest daughter]. Jonesboro: Arkansas State University. 112 pp. "I gave this book to my father in 1995 and asked him to fill in the answers to the questions about his childhood. On my birthday the following year, I received the completed book as a gift. Dad was a natural historian."
Cash, Johnny. 2015. "You Have to Call Me the Way You See Me." Interview by Kurt Loder. Southern Cultures 21, no. 3 (Fall): 5-17. "On August 20, 2003, MTV News correspondent Kurt Loder sat down with Johnny Cash at his home near Nashville for what would be Cash's final press interview .... just three weeks after this interview was taped, Johnny Cash passed away at Baptist Hospital in Nashville."
Chaney, Ryan. 2013. "Straightening the Crooked Road." Ethnography 14, no. 4 (December): 387-411. Examines The Crooked Road: Virginia's Heritage Music Trail as a regional economic engine.
Cohen, Ronald D., and Rachel Clare Donaldson. 2014. Roots of the Revival: American and British Folk Music in the 1950s. Music in American Life series. Urbana: University of Illinois Press. 182 pp. Contents: Background in the United States and Great Britain to 1950 | The Weavers and the resurgence of folk music, 1950-1953 | Blacklisting and folk developments, 1953-1954 | Popular folk music comes of age, 1955-1956 | Further developments, 1957-1958 | The decade ends, 1959-1960.
Cohen, Ronald D. 2014. "Bill Malone, Alan Lomax, and the Origins of Country Music." Journal of American Folklore 127, no. 504 (Spring): 126-139.
Conger, Bill. 2013. "Paul Brewster: Eighteen Thunderous Years with Ricky Scaggs" [tenor and rhythm guitarist]. Bluegrass Unlimited 47, no. 12 (June): 28-30.
Conger, Bill. 2013. "Ricky Scaggs Stays True to Himself with Music to My Ears" [2012]. Bluegrass Unlimited 47, no. 12 (June): 24-26.
Conger, Bill. 2014. "Bobby Osborne: Half A Century on the Grand Ole Opry." Bluegrass Unlimited 49, no. 5 (November): 22-24. Mandolin player, born 1931, and member of the Osborne Brothers band with brother Sonny.
Conger, Bill. 2015. "Dale Ann Bradley: Pocket Full of Keys." Bluegrass Unlimited 50, no. 2 (August): 24-26. Five-time IBMA Female Vocalist of the Year winner, from Pineville, Ky.
Conger, Bill. 2015. "Jesse McReynolds: Still Going Strong after 68 Years in Bluegrass." Bluegrass Unlimited 50, no. 6 (December): 30-32.
Conger, Bill. 2016. "The House That Ron Block Built." Bluegrass Unlimited 50, no. 10 (April): 34-36. Profile of award winning banjoist, guitarist, vocalist Block.
Cox, Annette. 2015. "The Saga of Ella May Wiggins." Southern Cultures 21, no. 3 (Fall): 111-115. "The most famous of Ella May Wiggins's twenty-plus strike songs is the blues ballad 'The Mill Mother's Song'.... During the 1929 strike at Gastonia's Loray Mill, Wiggins became the campaign's 'poet laureate' through the ballads she composed using melodies from contemporary hillbilly music. Her murder by a mill thug made her a martyr for the cause and led proletarian novelist Mary Heaton Vorse to transform her into a heroic figure. Folk music collector Margaret Larkin took her songs north where they became inspiration for Woody Guthrie and Pete Seeger."
Cox, John Harrington, ed. [1925] 2013. Folk-Songs of the South: Collected Under the Auspices of the West Virginia Folk-Lore Society [186 ballads, 26 folk tunes]. New introduction by Alan Jabbour. West Virginia Classics series, no. 4. Morgantown: West Virginia University Press. 600 pp. Originally published: Cambridge: Harvard University Press.
Dauphin, Chuck. 2013. "'Chasing Nashville' TV Series to Follow Aspiring Stars from Appalachia." Billboard, 18 September. 528 words. "...unscripted singing show....will follow the hopes and dreams" of girls from W. Va., N.C., and Ky. The show airs October 22 on the Lifetime network. http://www.billboard.com/articles/columns/the-615/5695584/chasing-nashville-tv-series-to-follow-aspiring-stars-from.
Dean, Vicki. 2014. "Del McCoury." Bluegrass Unlimited 48, no. 10 (April): 26-29. Profile and career overview of McCoury (b. 1939), guitarist, vocalist and leader of the Del McCoury Band.
Donaldson, Rachel Clare. 2014. "I Hear America Singing": Folk Music and National Identity. Philadelphia: Temple University Press. 225 pp. Contents: INTRODUCTION. Tuning up | Theoretical influences | The medley -- HEARING THE PEOPLE. The rise of folk festivals | The New Deal revivalists | Regionalism, pluralism, and race | The left side of the revival -- THE PEOPLE'S WAR. Making America safe for democracy | Festivals join the fight | Singing-and teaching-democracy -- ILLUSION AND DISILLUSIONMENT. Radical revivalists, unite! | A time to gain | A time to lose -- KEEPING THE TORCH LIT. Negotiating the cultural and political terrain | Sharpening the political edge | The cultural rebellion | The personal, the educational, and the political | Setting the stage -- THE BOOM. Commercialism and the revival | "Neo ethnics" | Neo almanacs? -- A BUST AND A BEGINNING. The turn | The end | The beginning – APPENDIX: A note on resources for recorded music – BIBLIOGRAPHY.
Dubois, Laurent. 2016. The Banjo: Americas African Instrument. Cambridge, Mass.: Belknap Press of Harvard University Press. 364 pp. Contents: Sounding Africa | The first African instrument | Three leaves | The sound of freedom | The banjo meets blackface | Rings like silver, shines like gold | Black banjo | Sounding America.
Duniphan, Steve. 2014. "Mitch Jayne: A Remembrance" [1928-2010]. Bluegrass Unlimited 49, no. 2 (August): 38-40. Bassist and storyteller Jayne co-wrote many of The Dillards' standard classics with Rodney Dillard.
DuPré, Michelle, Daniel S. Levy, Rosanne Cash, and June Carter Cash. 2013. Johnny Cash: An Illustrated Biography ["with rare and never-before-seen photographs"]. With reminiscences by Rosanne Cash and June Carter Cash. LIFE Unseen series. New York: LIFE Books. 190 pp.
Edwards, Matt. 2013. "Chester McMillian: Old Time Musician and Educator" [fiddler]. North Carolina Folklore Journal 60, no. 1 & 2 (Fall-Summer): 17-20. Brown-Hudson Folklore winner.
Erbsen, Wayne. 2003. Rural Roots of Bluegrass: Songs, Stories & History. Asheville, N.C.: Native Ground Music. 180 pp.
Everhart, Chad. 2013. "Valle Crucis Mobile Performance Stage: A Transformative Response to a Changing Landscape" [N.C.; floodplain]. Journal of Appalachian Studies 19, no. 1-2 (Spring-Fall): 108-123.
Feather, Carl E. 2013. "Jamboree at Dunmore Schoolhouse." Goldenseal: West Virginia Traditional Life 39, no. 4 (Winter): 64-65. Bluegrass and dancing, third Saturday of each month, at the Dunmore Community Center-- former two-room schoolhouse, Pocahontas County.
Ferguson, Robert Hunt. 2014. "Samantha Biddix Bumgarner" [Sylva, Jackson Co.]. In North Carolina Women: Their Lives and Times, ed. M. Gillespie and S. McMillen, 383-396. Athens: University of Georgia Press. "Though [Pete] Seeger often credited Bascom Lamar Lunsford's festival [Mountain Dance and Folk Festival, Asheville] with inspiring him to learn the five-string banjo, it was the woman in the rocking chair, colloquially known to adoring crowds as "Aunt Samantha," who first captivated Seeger" in 1936.
Foley, Michael Stewart. 2014. "A Politics of Empathy: Johnny Cash, the Vietnam War, and the 'Walking Contradiction' Myth Dismantled." Popular Music & Society 37, no. 3 (July): 338-359. "...in the late 1960s and early 1970s, his political views on Native Americans, prison reform, and the Vietnam War, especially, were remarkably consistent."
Foster, Bill. 2016. "Bluegrass Unlimited, July 1966– Vol. 1 No. 1: A Review." Bluegrass Unlimited 51, no. 1 (July): 30-31. See also: "The Bluegrass World celebrates Fifty Years of Bluegrass Unlimited," by Derek Halsey, 34-41.
Freed, Mark. 2015. "'Living the American Dream' in Appalachia: Interviews with the Krüger Brothers." Appalachian Journal 42, no. 3-4 (Spring-Summer): 322-343. Swiss-German immigrants, The Kruger Brothers, comprise brothers Uwe (guitar) and Jens (banjo), with Joel Lansberg (bass).
Freed, Mark, ed. 2015. "Roundtable Discussion of Appalachian Music — Discussing the Top Ten." Appalachian Journal 42, no. 3-4 (Spring-Summer): 150-230. Introduction by Mark Freed with APPALACHIAN MUSIC PLAYLISTS and RESPONSES by: Roy Andrade, Thomas Burton, Cecelia Conway, Meredith Doster, Barbara R. Duncan, John Fleenor, Kevin Fore, Trish Fore, Mark Freed, Fred J. Hay, David Holt, Loyal Jones, Si Kahn, Rich Kirby, William E. Lightfoot, Trevoe McKenzie, Tim O'Brien, Ted Olson, Ron Pen, Susan Pepper, Gary Poe, Kinney Rorrer, Tony Russell, Kilby Spencer, Deborah Thompson, and Dave Wood.
Freeman, Dori. 2016. Multimedia Feature, Still: The Journal, no. 20 (Winter). Profile of southwest Virginia singer/songwriter Freeman by Silas House, and an audio clip (2:54 min.) from her new self-titled album. http://www.stilljournal.net/multimedia-dorifreeman.php.
Friskics-Warren, Bill. 2016. "Ralph Stanley, Whose Mountain Music Gave Rise to Bluegrass, Is Dead at 89." New York Times, 24 June, 14(B). 1,241 words. "Ralph Stanley, the singer, banjo player and guardian of unvarnished mountain music who was also a pivotal figure in the recent revival of interest in bluegrass, died on Thursday .... Though widely regarded as one of the founding fathers of bluegrass...he did not believe his music was representative of the genre .... 'Old-time mountain style, that's what I like to call it'." http://nyti.ms/28RpLMM.
Fulks, Danny. 2014. "Cowboy Copas: From the Hills of Adams County, Ohio, to the Grand Ole Opry." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 36-38. Traces the life and career of country singer Cowboy Copas (1913-1963) who died in a plane crash with Patsy Cline and Hawkshaw Hawkins.
Furgiuele, Hannah, and Brandon Johnson. 2015. "Roger Howell: Musician, Luthier, and Teacher." North Carolina Folklore Journal 62, no. 2 (Summer-Fall): 18-24. Madison Co., N.C.
Fussell, Fred, with Steve Kruger. 2013. Blue Ridge Music Trails of North Carolina: A Guide to Music Sites, Artists, and Traditions of the Mountains and Foothills. Chapel Hill: University of North Carolina Press. 281 pp., plus CD with more than 20 songs. Organized by region and county with in-depth profiles of 16 musicians, and 39 sidebars on significant places, people, and events. CD CONTENTS. The grey eagle / Trevor and Travis Stuart -- Swannanoa tunnel / Bascom Lamar Lunsford -- I've endured / Ola Belle Reed -- Rainbow sign / The Buckstankle Boys -- John Henry / Etta Baker -- Cotton mill blues / The New North Carolina Ramblers -- Drunkard's dream / Dorothy Hess -- Restoration / Christian Harmony Singers at Saint John's Church -- Ground Hog / The Watson Family -- Georgia Belles / Manco Sneed -- Snowbird nation / Manco Sneed -- Otto Wood / Elkville String Band -- A soldier traveling from the North / Donna Ray Norton -- Honeybabe / Lesley Riddle -- My cabin in Caroline / Flatt and Scruggs -- Sawmill man / Glenn Bolick -- Down in the valley / George Shuffler and Laura Boosinger -- Tom Dooley / Frank Proffitt -- Black cat bone / Pop Ferguson -- Rockingham Cindy / Tommy Jarrell and Fred Cockerham -- Trail of Tears song / Welch Family Singers -- Come take a trip on my airship / Christine Horton -- Carolina in the Fall / Krüger Brothers -- Peace behind the bridge / Etta Baker -- Frankie Silver's confession / Bobby McMillon -- Some closing remarks / H.P. Van Hoy.
Gamble, Mort. 2013. "JoAnn Davis: Singer, Author, Survivor." Goldenseal: West Virginia Traditional Life 39, no. 3 (Fall): 34-39. Davis was a professional singer entertainer for more than 30 years, much of that on WWVA's Jamboree USA country music radio broadcast in Wheeling.
Gerrard, Alice. 2016. "Penny and the Troubadour." Bluegrass Unlimited 50, no. 12 (June): 28-31. Profile of Penny Parsons and her relationship with bluegrass legend Curly Seckler (b. 1919), the subject of her biography, Foggy Mountain Troubadour: The Life and Music of Curly Seckler (University of Illinois Press, 2016).
Gleaves, Sam. 2015. Multimedia Feature, Still: The Journal, no. 19 (Fall). Profile of traditional singer/songwriter and banjo player Gleaves, with two video clips of him singing: "Ain't We Brothers" from his debut record of the same title (4:05 min.); and "Stay All Night – Sam Gleaves & Friends" (2:25 min.). http://www.stilljournal.net/multimedia-samgleaves.php.
Goodwin, Dennis. 2014. "Everetts Family Music Venue in Suwanee, Georgia." Bluegrass Unlimited 48, no. 8 (February): 28-31. Gwinnett County; Everett Brothers Bluegrass Music Barn.
Green, Judy Lee. 2013. "Appalachian Dancers Perform Worldwide." Now & Then: The Appalachian Magazine 28, no. 2 (Winter): 27-29. Special issue, "Global Appalachia." Cripple Creek Cloggers [Tenn.].
Green, Judy Lee. 2014. "Blacktops and Cheating Songs" [Tenn.; 1940s-50s]. Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 34-35. The author's mother, Levida, "dreamed of going to Texas and seeing real cowboys."
Haines, Kathryn Miller. 2014. "Stephen Foster: The Making of Pittsburgh's Renowned Musical Export." Western Pennsylvania History 97, no. 3 (Fall): 34-47. Nineteenth-century industrial Pittsburgh "shaped the content of his work and...emerged again and again in Foster's music."
Hall, Kristin M. 2016. "Documentary, Album Explore Loretta Lynn's Appalachian Roots" [83 years old]. AP Entertainment [wire story], 11 March. 747 words. "American Masters" documentary on PBS and album titled "Full Circle" both debut March 4. http://apne.ws/1QGCnTT.
Halsey, Derek. 2013. "The Mountaineer Opry House Celebrates Its Fortieth Anniversary" [Milton, W. Va.]. Bluegrass Unlimited 47, no. 7 (January): 44-46.
Halsey, Derek. 2014. "George Shuffler, April 11, 1925–April 7, 2014" [guitarist]. Bluegrass Unlimited 48, no. 12 (June): 26-31. "The 'Third Stanley Brother' leaves this world an appreciated man."
Halsey, Derek. 2014. "MerleFest: Carrying On the Legacy of Doc Watson." Bluegrass Unlimited 48, no. 7 (January): 28-32.
Halsey, Derek. 2015. "Norman Blake: Carrying on the Tradition as the Last Man Standing." Bluegrass Unlimited 50, no. 1 (July): 26-28. North Georgia guitarist Blake has played on a number of landmark albums with artists including John Hartford (Aero-Plain), Johnny Cash, and the Nitty Gritty Dirt Band (Will the Circle Be Unbroken).
Halsey, Derek. 2015. "Sammy Adkins and the Sandy Hook Mountain Boys: Keeping The Stanley Brothers Sound Alive in Eastern Kentucky." Bluegrass Unlimited 49, no. 11 (May): 48-49.
Help for the Old-Time Herald. 2016. Bluegrass Unlimited 51, no. 1 (July): 26. "Alice Gerrard started the Old-Time Herald magazine in 1987 as a publication like Bluegrass Unlimited but, she says, specifically for old-time and traditional country music fans as 'a platform, a source to serve the community'." (See: http://www.oldtimeherald.org/)
Henry, Murphy Hicks. 2013. "Bessie Lee Mauldin" [1920-1983]. Bluegrass Unlimited 48, no. 2 (August): 36-37. Bill Monroe's bass player and "sweetheart." Women who saw her perform in "this overwhelmingly male musical genre....could see that there was a space for them singing and playing–– in a bluegrass band."
Henry, Murphy Hicks. 2015. "Pasty Stoneman (May 27, 1925–July 23, 2015)." Bluegrass Unlimited 50, no. 3 (September): 12. "Patsy, Donna, and Roni Stoneman were the last surviving children of Ernest 'Pop' and Hattie Stoneman [The Stoneman Family; southwest Va.]. Now Patsy is gone .... She kept Pop's memory alive by singing his songs...and playing the autoharp."
Herrin, Roberta. 2014. "Be Still. Hear. Know." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 2. Introductory essay to special issue on "Appalachian Music."
Hight, Jewly. 2015. "The Music of a Struggle: Sam Gleaves' Traditional Revolution" [rural gay identity]. The Record: Music News from NPR, 12 November. NPR radio. Transcript, 2,707 words; with sound clip of Gleaves' song, "Ain't We Brothers" (3:55 min.), from his new album of the same title. http://n.pr/1O4fMlQ.
Hilburn, Robert. 2013. Johnny Cash: The Life [biography]. New York: Little, Brown. 679 pp. "...the unvarnished truth about Cash, whose personal life was far more troubled and his artistry much more profound than even his most devoted fans have realized."
Hill, Becky. 2015. "The More You Dance, The Better You Feel." Goldenseal: West Virginia Traditional Life 41, no. 3 (Fall): 10-17. The Mountain Dance Trail, established by Gerry Milnes to preserve old-time-square dances, is promoted in small communities around the state. Attached article: "An Interview with Square Dance Caller Bill Ohse," by Beck Hill, 18-21. (See also: the documentary film, Reel 'Em Boys, Reel 'Em: A Film about West Virginia Dance Traditions, by Becky Hill and Gerry Milnes.)
Hofstra, Warren R., ed. 2013. Sweet Dreams: The World of Patsy Cline [1932-1963]. Music in American Life series. Urbana: University of Illinois Press. 183 pp. Based on papers from a 2008 conference. Contents: Patsy Cline and the transformation of the working-class South / Bill C. Malone -- Legacy and legend: the cultural world of Patsy Cline's Winchester [Va.] / Warren R. Hofstra and Mike Foreman -- Patsy Cline and the problem of respectability / Beth Bailey -- Cultural scripts and Patsy Cline's career in the 1950s / Kristine M. McCusker; Interlude. The early years: hard times, and good times for country music in 1950s Washington, D.C. / George Hamilton IV -- Patsy Cline: a television star / Douglas Gomery -- 'Nothing but a little ole pop song': Patsy Cline's music style and the evolution of genre in the 1950s / Jocelyn R. Neal -- 'Becoming a postage stamp': Patsy Cline, visual image, and the celebrity process / Joli Jensen -- Afterword: the historical significance of Patsy Cline / Warren R. Hofstra.
Holt, David. 2015. "Mentors & Heroes" [photo essay]. Appalachian Journal 42, no. 3-4 (Spring-Summer): 390-397. Portraits of nineteen "tradition-bearer" Appalachian musicians: singers, fiddlers, banjo players, and guitarists.
Howard, Wayne. 2014. "West Virginia's Hammons Family." Goldenseal: West Virginia Traditional Life 40, no. 4 (Winter): 6-13. Discusses this revered family of old time musicians and the popularity of their recordings. Sidebar by Gerald Milnes about the Mintie and Currence Hammonds branch of the family in Randolph Co.
Howell, Rebecca Gayle. 2016 "O, Death." Oxford American, 1 July. 521 words. Tribute to bluegrass icon Ralph Stanley who died June 23. Stanley's a cappella singing of "O, Death" was featured in the 2000 film O Brother, Where Art Thou? http://www.oxfordamerican.org/item/897-o-death.
Hubbs, Nadine. 2014. Rednecks, Queers, and Country Music. Berkeley: University of California Press. 225 pp. Contents: PART I. Rednecks and country music. Anything but country -- Sounding the working-class subject | PART II. Rednecks, country music, and the queer. Gender deviance and class rebellion in "Redneck Woman" | "Fuck Aneta Briant" and the queer politics of being political.
Huber, Patrick. 2014. "The New York Sound: Citybilly Recording Artists and the Creation of Hillbilly Music, 1924–1932." Journal of American Folklore 127, no. 504 (Spring): 140-158.
Jamison, Phil. 2015. "Dare To Be Square: Passing It On" [community square dances]. Old-Time Herald 13, no 12. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-12/index.html.
Jamison, Phil. 2015. Hoedowns, Reels, and Frolics: Roots and Branches of Southern Appalachian Dance. Music in American Life series. Urbana: University of Illinois Press. 276 pp. Contents: Diversity and Cultural Transmission in the Southern Mountains | The Southern Square Dance | Square Roots | Transforming Tradition | Cecil Sharp and the Kentucky Running Set | Sharps Legacy | Barn Dances with Calls (1924-1933) | The Virginia Reel | Religion and Dancing | Couple Dances | The Cakewalk | Appalachian Step Dance | Clogging: Appalachian Step Dance on Stage | Community Dance in Appalachia | The American Square Dance | Appendix: Barn Dances with Calls | Glossary of Dance Terms, Figures, and Steps.
Johnson, Allen. 2014. "The Rhythm of Dwight Dillard." Goldenseal: West Virginia Traditional Life 40, no. 4 (Winter): 14-19. Profile of old-time musician and banjo player Dwight Diller (b. 1946) of Hillsboro, Pocahontas County.
Johnson, David W. 2013. Lonesome Melodies: The Lives and Music of the Stanley Brothers [Carter and Ralph]. American Made Music series. Jackson: University Press of Mississippi. 299 pp.
Jones, Diana. 2014. "Writing 'Henry Russell's Last Words'." Goldenseal: West Virginia Traditional Life 40, no. 3 (Fall): 48-49. Personal narrative of writing the song with its themes of the 1927 Everettville, Monongalia County, coal mining accident that killed 111, and death of miner Henry Russell.
Jones, Loyal. 2015. "Bascom Lamar Lunsford: A Herald of Appalachian Studies" [1882-1973; fiddler and folklorist]. Appalachian Journal 42, no. 3-4 (Spring-Summer): 232-249. Jones is author of the biography, Minstrel of the Appalachians: The Story of Bascom Lamar Lunsford (1984; rpt. 2002).
Jones, Loyal. 2015. "In Memoriam: Jean Ritchie" [1922-2015]. Appalachian Heritage 43, no. 3 (Summer): 8-9. "Jean was the most traditionally authentic artist in the Folk Revival and afterwards....She didn't just sing the ancient and marvelous songs and ballads that came down through the generations of her people, ...her performances took her audiences on profound cultural trips."
June, Valerie. 2014. Multimedia Feature, Still: The Journal, no. 14 (Winter). Profile of Valerie June and her "organic moonshine roots music." 241 words. http://www.stilljournal.net/multimedia-valeriejune.php.
Kader, Emily. 2013. "SHARED TRADITIONS: Irish and Appalachian Ballads and Whiskey Songs." Chap. 6 in Rethinking the Irish in the American South: Beyond Rounders and Reelers, ed. B. Giemza, 122-139. Jackson: University Press of Mississippi.
Kader, Emily. 2014. "'Rose Connolly' Revisited: Re-Imagining the Irish in Southern Appalachia." Journal of American Folklore 127, no. 506 (Fall): 425-447. "This essay revisits the Appalachian murder ballad 'Rose Connolly,' the subject of a 1979 essay by D. K. Wilgus. Following Wilgus, I offer further evidence of the song's presence in Ireland and interrogate persistent hesitancy to claim Irish influence on Appalachian folklore. My analysis then traces this bias to the influence of Cecil Sharp's English Folk Songs from the Southern Appalachians (Sharp and Campbell, 1917) and his theories of race in the British Isles and Appalachia. Ultimately, I use 'Rose Connolly' to re-imagine Irish diasporic and Appalachian identities."
Kahn, Si. 2015. "Precious Memories: A Play." Appalachian Journal 42, no. 3-4 (Spring-Summer): 298-319. "Described as 'part memory play, part eulogy, part inspiration,' Precious Memories...was written for and stars Sue Massek of Kentucky's feminist-labor Reel World String Band as Sarah Ogan Gunning (1910-1983), who played an influential role in American labor music history." "The play is a dramatic monologue featuring Gunning who addresses her recently departed half-sister [Aunt Molly Jackson] and showcases the creativity of Kahn, a prolific songwriter himself."
Keeling, Jeff. 2014. "A Radiator Shop Transformed: Site of 1929 Johnson City Sessions Speaks of Era's Race Relations" [Tenn.]. Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 27-28. "...racial lines may have been blurred during the hillbilly recording sessions." Music historian Ted Olson talks about the influence of African American musical styles at the historically black West Main Street Christian Church annex, former site of Rowe Radiator Shop.
Kiah, Amythyst. 2016. Multimedia Feature, Still: The Journal, no. 21 (Summer). Video clip (4:17 min.) of Johnson City, Tenn., "Southern gothic, alt-county blues singer/songwriter" Kiah singing "Darling Cora," accompanying herself on the banjo. http://www.stilljournal.net/multimedia.php.
Kirk, Brandon Ray. 2015. "Feuds, Fiddle, Family, and Friends: Ed Haley's Life on Harts Creek" [Logan Co.; 1885-1951]. Goldenseal: West Virginia Traditional Life 41, no. 4 (Winter): 12-23. "James Edward 'Ed" Haley was one of the most gifted musicians ever to emerge from West Virginia. The blind fiddler was also an accomplished vocalist, clawhammer banjoist, guitarist, mandolin player, organist, and pianist."
Kirk, Brandon Ray. 2015. "John Hartford's Search for Ed Haley" [1885-1951]. Goldenseal: West Virginia Traditional Life 41, no. 3 (Fall): 24-27. "Renowned singer-songwriter and musician John Hartford researched Ed's life and music from the early 1990s until his untimely death in 2001. He regarded Ed as 'the best and most important fiddler of our time'."
Koken, Walt. 2015. "Tales from the Woods, Part 12: J. P. and Roscoe" [1970s Whitesburg, Ky.]. Old-Time Herald 14, no. 1 (July). http://www.oldtimeherald.org/archive/back_issues/volume-14/14-1/index.html.
Kotick, Lee. 2015. "Spencer Strickland: The Fourth Virginia Luthier." Bluegrass Unlimited 49, no. 10 (April): 42-45. Profile of this musician and builder of mandolins and guitars, from Lambsburg, Va.
Law, Mary Elizabeth, and Bob Prater. 2013. "The Mountain City Playhouse" [Rabun Co., Ga.]. Interview by Jessica Phillips. Foxfire Magazine 47, no. 3-4 (Fall-Winter): 25-36. "Every Saturday night, the Mountain City Playhouse hosted hundreds of square dances for people all around to come and enjoy themselves."
Lilly, John. 2014. Media review of The Johnson City Sessions 1928-1929: "Can You Sing or Play Old-Time Music?" (Bear Family Records, 2013), produced by Ted Olson and Tony Russell. Goldenseal: West Virginia Traditional Life 40, no. 4 (Winter): 66-67. Four CD boxed set; 100 tracks; with 135-page booklet.
Lockman, Brian. 2015. "An Interview with Alan Jabbour." Old-Time Herald 14, no 2. http://www.oldtimeherald.org/archive/back_issues/volume-14/14-2/index.html.
Lockman, Nancy, and Brian Lockman, ed. 2014. "George Orthey and His Autoharps" [80 years old; Perry Co., Pa.]. Old-Time Herald 13, no. 9. http://oldtimeherald.org/archive/back_issues/volume-13/13-9/orthey.html.
Loretta Lynn: Still a Mountain Girl [film]. 2016. American Masters (series), 5 March. PBS Television premiere (53:14 min.). "Inducted into more music Halls of Fame than any female recording artist to date, Loretta Lynn (b. April 14, 1932) has earned four Grammy Awards, Kennedy Center Honors and a Presidential Medal of Freedom, and sold more than 45 million records worldwide." http://www.pbs.org/wnet/americanmasters/loretta-lynn-full-episode/6918/.
Loveless, Patty. 2014. "Mountain Music." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 5. "Mountain music is much more than lyrics, much more than the deceptively simple instrumentation; it's a feeling."
Lupton, John. 2013. "Come & Go with John Lilly: A Lifetime Love Affair with Old-Time Music [interview]. Sing Out! 55, no. 2 (Winter): 6-9. Discography. Career overview of guitarist, singer, and songwriter Lilly who since 1997 has been the editor of Goldenseal: West Virginia Traditional Life magazine.
MacMorran, Jane. 2013. "Tales of Tennessee, New Zealand Style." Now & Then: The Appalachian Magazine 28, no. 2 (Winter): 68-69. Profile of world-class fiddler and ETSU faculty member, Colleen Trenwith, who returns home to New Zealand each winter.
Malone, Bill C. 2014. "'The Southern Thesis': Revisited and Reaffirmed." Journal of American Folklore 127, no. 504 (Spring): 226-229. "I still believe that country music bears 'a special relationship to the South,' and that its defining and appealing elements are linked to its origins in that region .... Southerners did make music, and they performed with a body of styles that were different and, in my opinion, more exciting than those made in other regions of the country .... As I have argued...two powerful cultural factors made the rural music of the South distinctive and appealing: the presence of African Americans in close proximity to people of European extraction, and the pervasiveness of evangelical Protestantism."
Martin, Joseph M. 2013. An Appalachian Winter: A Cantata for Christmas. Delaware Water Gap, Pa.: Shawnee Press. 93 pp. Words and music, with narrative introductions. Contents: Prelude -- 'Tis a season for singing -- Long time ago -- Hope and expectation (Come thou long expected Jesus [2 tunes used]) -- Carol of the winter wind -- Mountain carol -- Gentle carols of Bethlehem (Away in a manger and O little town of Bethlehem) -- While shepherds watched -- A rustic star carol -- Children, go tell it on the mountain (Children, go where I send thee and Go tell it on the mountain).
Mathis, J. P., III. 2014. "Bluegrass Music in the Land of the Rising Sun." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 58-59. "My wife Leona and I spent the summer of 2013 performing, traveling, and eating our way across the Japanese archipelago." The author is a music instructor in Hyden, Ky., and his wife teaches violin and fiddle in Maryville, Tenn.
Mazor, Barry. 2014. Ralph Peer and the Making of Popular Roots Music. Chicago: Chicago Review Press. 316 pp. Chap. 3, "To Victor, On to Bristol, and the Making of Giants, 1926-1927," pp. 71-120 [The Bristol Sessions].
McGaha, Jennifer. 2014. "Old Crow and Appalachian Soul." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 10-12. The traditional music group Old Crow Medicine Show is "an important character in the unfolding story of Appalachia. Old Crow takes us on a tour of these mountains and reintroduces us to our people."
McGee, Nathan. 2014. "If You Can't Go Home, Take Some of It with You: Twentieth-Century Appalachian Migration and the Music of Renfro Valley." Register of the Kentucky Historical Society 112, no. 4 (Autumn): 589-611.
Meador, Michael M. 2016. "'You write songs like people breathe': Billy Edd Wheeler, Renaissance Man." Goldenseal: West Virginia Traditional Life 42, no. 2 (Summer): 12-23. Biographical article on the songwriter, author, and Boone County native (b. 1932). "Over the last half-century, Billy Edd has been one of West Virginia's best cultural attachés to the rest of the world."
Menius, Art. 2016. "Putting Bluegrass in Its Place: David Holt's State of Music Goes National." Bluegrass Unlimited 50, no. 10 (April): 28-31. PBS documentary airing in April examines modern masters of bluegrass and traditional music in the Southern mountains.
Miller, Scott. 2016. "Scott Miller: Going Home." Still: The Journal, no. 18 (Summer). Brief profile of songwriter Miller by Grant Alden; and mini-documentary video clip (5:27 min.) of Miller's leaving Nashville and returning to his family's Shenandoah Valley farm in Bath Co., Va., after "fifteen years of perfecting the art of losing money in the music business." http://www.stilljournal.net/scott-miller-feature.php.
Milnes, Gerald. 2015. "Phyllis Marks: 'Learned by Heart'" [biography; b. 1927, Gilmer Co.]. Goldenseal: West Virginia Traditional Life 41, no. 1 (Spring): 22-27. "Phyllis is the last active ballad singer I know of in the state who learned by heart from traditional sources in the traditional way .... Phyllis learned most of her ballads, folksongs, and life lessons from her mother." Includes lyrics from several songs.
Milnes Receives Award. 2013. Goldenseal: West Virginia Traditional Life 39, no. 3 (Fall): 73. Gerald Milnes of Elkins received the 2013 Vandalia Award, West Virginia's highest folklife honor, "for his extensive work as folk art coordinator at the Augusta Heritage Center at Davis & Elkins College, as well as his filmmaking, photography, audio recordings, writings, and musical accomplishments."
Mitchell, George. 2013. Mississippi Hill Country Blues 1967. American Made Music Series. Jackson: University Press of Mississippi. 144 pp. B&W pictorial chronicling the author's search for unsigned blues artists during 1967.
Morales, Helen. 2014. Pilgrimage to Dollywood: A Country Music Road Trip through Tennessee. Chicago: University of Chicago Press. 165 pp. "Morales's adventure allows her to compare the imaginary Tennessee of [Dolly] Parton's lyrics with the real Tennessee where the singer grew up." Contents: Caviar and fish sticks | A series of cravings: Graceland and other shrines, Memphis | Country is as country does: Loretta Lynn's ranch, Hurricane Mills | Music City, USA: Nashville | Tennessee mountain homes: Pigeon Forge, Gatlinburg, Sevierville, and Locust Ridge | Color me America: Dixie Stampede, Pigeon Forge | Sifting specks of gold: Dollywood amusement park, the Great Smoky Mountains | Doing the pilgrimage.
Mullins, Daniel. 2015. "The Impact of Rounder 0044" [record album by J.D. Crow & the New South]. Bluegrass Unlimited 50, no. 3 (September): 40-43.
Mullins, Daniel. 2015. "The Making of Rounder 0044." Bluegrass Unlimited 50, no. 3 (September): 36-39. Stock number of the influential 1975 Rounder Record album by the band, J.D. Crow & the New South, with members J.D. Crowe, Ricky Scaggs, Jerry Douglas, Tony Rice, and Bobby Slone.
Music in Appalachia. 2014. Special issue, Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 1-72. Essays, poems, history, artist profiles, music and book reviews.
Nager, Larry. 2013. "Ronnie Reno: Bluegrass Music's Youngest Old Timer." Bluegrass Unlimited 48, no. 1 (July): 24-29. "Reno hosts the top national bluegrass TV show..."Reno's Old Time Music Feastival." See also: "Reno & Smiley and 911," by Tim White, p. 32 [Don Reno, Red Smiley, and 1960s Roanoke, Va.].
Nager, Larry. 2014. "Great Pretenders: All-Star Earls Are Perfectly Foggy." Bluegrass Unlimited 49, no. 4 (October): 26-33. The Earls of Leicester, more than just an "Earl"Scruggs and "Lester" Flatt tribute band, is comprised of Jerry Douglas, Shawn Camp, Barry Bales, Charlie Cushman, and Tim O'Brien.
Nager, Larry. 2014. "Rhoda Vincent Takes Control." Bluegrass Unlimited 48, no. 12 (June): 26-31. Profile of the "Queen of Bluegrass" (b. 1962, Kirksville, Mo.).
Nager, Larry. 2015. "The Big Bang Reloaded: New CD and Film Honor The Bristol Sessions." Bluegrass Unlimited 50, no. 4 (October): 32-34. Orthophonic Joy: The 1927 Bristol Sessions Revisited (Sony/Legacy, double CD).
Nager, Larry. 2015. "Late Night Pickin': David Letterman Leaves a Bluegrass-Sized Hole in Our TVs." Bluegrass Unlimited 50, no. 2 (August): 32-34. The retiring TV host welcomed many bluegrass musicians over the years. "Letterman loved the banjo and...featured it often."
Nager, Larry. 2016. "Full Circle: Nitty Gritty Dirt Band Turns 50." Bluegrass Unlimited 50, no. 8 (February): 20-25. Detailed review of the band's long evolution, various members, and continuing appeal. Original members include Jeff Hanna, John McEuen, Jimmie Fadden, and later, Bob Carpenter. A recording of the September, 2015, Nashville Ryman Auditorium reunion will air on TV in March 2016, along with the release of a CD and DVD of the concert.
Nava, Margaret. 2014. "The Cigar Box Guitar." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 32.
Newby, Tim. 2015. Bluegrass in Baltimore: The Hard Drivin' Sound and Its Legacy. Jefferson, N.C.: McFarland. 235 pp. "Based upon interviews with legendary players from the Golden Age of Baltimore Bluegrass [1940s-50s], this book provides the first in-depth coverage of this transplanted-roots music and its broader influence, detailing the struggles Appalachian musicians faced in a big city that looked down on their 'poorest example of poor man's music'."
Newfont, Kathryn, Cadence Wilmoth, Madison Moss, Ian Kirkpatrick, and Brandon Johnson. 2015. "'Don't Cut Bluff' -- Twenty Years of Music and Activism at the Bluff Mountain Festival" [Hot Springs, N.C.]. North Carolina Folklore Journal 62, no. 1 (Winter-Spring): 65-95.
Nipper, Melissa. 2014. "An Appalachian Score: A Family's Musical Heritage from Fiddling to Classical Violin." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 48-50. Johnson City, Tenn., classical violinist and conductor Kellie Brown shares her bluegrass and gospel family roots growing up in Piney Flats, Tenn.
Olson, Ted. 2013. "'Can You Sing Or Play Old-Time Music?': The Johnson City Sessions" [Tenn.; 1928, 1929]. Old-Time Herald 13, no. 6. "If the 1927 Bristol Sessions can be considered 'the Big Bang of Country Music,' then the Johnson City Sessions were a major aftershock." http://oldtimeherald.org/archive/back_issues/volume-13/13-6/johnsoncity.html.
Olson, Ted. 2014. "Carroll Best: Old-Time 'Fiddle-Style Banjo' from the Great Smoky Mountains" [feature article]. Old-Time Herald 13, no. 10. 6,582 words. "This article is adapted from the album notes to the new CD release Carroll Best and The White Oak String Band: Old-Time Bluegrass from the Great Smoky Mountains, 1956 and 1959." http://www.oldtimeherald.org/archive/back_issues/volume-13/13-10/best-fv.html.
Olson, Ted. 2014. "'Hell's Broke Loose in Georgia!'" Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 42-44. "Stephen Vincent Benét's 139-line poem 'The Mountain Whippoorwill' [1925] vividly interprets the Appalachian tradition of fiddle contests." Olson traces various interpretations including those of John Carson, Charlie Daniels, and the Nitty Gritty Dirt Band's John McEuen.
Olson, Ted. 2015. "The Folk Box: A Forgotten, Yet Unforgettable, Album from the Folk Era" [1964 release]. Old-Time Herald 14, no 1 (July):8- (14 pp.). http://www.oldtimeherald.org/archive/back_issues/volume-14/14-1/index.html.
Olson, Ted. 2015. "The 1927 Bristol Sessions: The Big Bang, or the Big Brag of Country Music?" Appalachian Journal 42, no. 3-4 (Spring-Summer): 262-283. Includes Roundtable discussion by: Nolan Porterfield, Dave Samuelson, Wayne Daniel, Barry Mazor, and Joe Wilson, 270-278; plus an Appendix listing "Commercial Recording Studios in Appalachia" in twelve cities, 278-282.
Olson, Ted. 2015. "Jean Ritchie (December 8, 1922--June 1, 2015)." Bluegrass Unlimited 50, no. 2 (August): 14. Called the Mother of Folk, "Ritchie's haunting original songs owed much to the traditional ballads and lyric folk songs she heard and sang when growing up in the musical Richie family" in the community of Viper, Perry County, Ky. She is the author of Singing Family of the Cumberlands (Oxford University Press, 1955).
Olson, Ted. 2015. "Joe Wilson (March 16, 1938--May 17, 2015). Bluegrass Unlimited 50, no. 1 (July): 14-15 with sidebar, "A Remembrance of Joe," by Mark Yacovone. Promoter and interpreter of Appalachian music, and co-creator of The Crooked Road heritage music trail, "an effort to mesh local culture and tourism in southwestern Virginia."
Parsons, Penny. 2015. "Gary Reid: A Life of Stanley Brothers." Bluegrass Unlimited 50, no. 6 (December): 34-38.
Parsons, Penny. 2015. "Jake Tullock: The 'Forgotten' Foggy." Bluegrass Unlimited 50, no. 1 (July): 42-47. East Tennessean [1922-1988] "multi-talented bassist, harmony singer, and comedian with Lester Flatt, Earl Scruggs, and the Foggy Mountain Boys during the height of their fame."
Parsons, Penny. 2016. Foggy Mountain Troubadour: The Life and Music of Curly Seckler [b. 1919]. Music in American Life series. Urbana: University of Illinois Press. 241 pp. "His foundational work [mandolin] in Flatt and Scruggs's Foggy Mountain Boys secured him a place in bluegrass history."
Pasley, Lucas. 2014. "Fred McBride: Going Across the Mountain" [fiddler; N.C.]. Old-Time Herald 13, no. 10. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-10/index.html.
Pecknold, Diane, ed. 2013. Hidden in the Mix: The African American Presence in Country Music [thirteen essays]. Durham, N.C.: Duke University Press. 383 pp. Contents: Introduction: country music and racial formation / Diane Pecknold -- Black hillbillies: African American musicians on old-time records, 1924-1932 / Patrick Huber -- Making country modern: the legacy of modern sounds in country and western music / Diane Pecknold -- "In a class by himself": Arnold Schultz and categorical ambiguity among western Kentucky thumbpickers / Erika Brady -- Fiddling with race relations in rural Kentucky: the life, times, and contested identity of Fiddlin' Bill Livers / Jeff Keit -- Why African Americans put the banjo down / Tony Thomas -- Old-time country music in North Carolina and Virginia: the 1970s & 1980s / Kip Lornell -- "The South's gonna do it again": changing conceptions of the use of "country" music in the albums of Al Green / Michael Awkward -- Dancing the habanera beats (in country music): the creole-country two-step in St. Lucia and its diaspora / Jerry Wever -- Playing chicken with the train: Cowboy Troy's hick-hop and the transracial country west / Adam Gussow -- If only they could read between the lines: Alice Randall and the integration of country music / Barbara Ching -- You're my soul song: how Southern soul changed country music / Charles Hughes -- What's Syd got to do with it? King Records, Henry Glover and the complex achievement of crossover / David Sanjek.
Petrus, Stephen, and Ronald D. Cohen. 2015. Folk City: New York and the American Folk Music Revival. Foreword by Peter Yarrow. New York: Oxford University Press. 320 pp. Profusely illustrated.
Phipps, Molly. 2013. "Picking Through History" [Earl Scruggs; banjo]. Appalachian Journal 41, no. 1-2 (Fall 2013-Winter 2014): 6-7. Reprint of newspaper article, "A decade in the making: Scruggs Center plans grand opening," Shelby, N.C Star, 4 January 2014.
Polenberg, Richard. 2015. Hear My Sad Story: The True Tales That Inspired "Stagolee,""John Henry," and Other Traditional American Folk Songs. Ithaca, N.Y.: Cornell University Press. 293 pp. Twenty-five ballads, including Chapters: 5. Omie Wise (1807) | 6. The Ballad of Frankie Silver (1831) | 7. Tom Dooley (1866) | 13. John Hardy (1894) | 16. John Henry (1870s) | 17. Engine 143 (1890) | 18. Casey Jones (1900) | 19. Wreck of the Old 97 (1903) | 20. Cotton Mill Blues (1930s) | 22. Only a Miner (1930s).
Presley, Angaleena. 2015. Multimedia Feature, Still: The Journal, no. 18 (Summer). Two video clips of the country music singer and her band: "Angaleena Presley American Middle Class (3:12 min.); and "Angaleena Presley – The Making of 'American Middle Class'" (6:28 min.; debut album, Slate Creek Records), with promotional press kit by Silas House. http://www.stilljournal.net/multimedia-angaleenapresley.php.
Prouty, Scott. 2014. "Tradition Comes Out of the Past, But It Happens in the Present: An Interview with Gerry Milnes" [Augusta Heritage Center at Davis & Elkins College, Elkins, W. Va.]. Old-Time Herald 13, no. 9. "This interview is the first in the Old-Time Music Group's Revival Generation Oral History Project. Over the coming years we will be gathering stories of old-time musicians who came to the music in the 1960s, '70s, and early '80s." http://oldtimeherald.org/archive/back_issues/volume-13/13-9/index.html.
Radosh, Ronald. 2014. "Roots Music." New York Times Book Review, 7 December, 18(L). Reviews: "Wayfaring Strangers: The Musical Voyage from Scotland and Ulster to Appalachia," by Fiona Ritchie and Doug Orr (University of North Carolina Press, 2014): and "Ralph Peer and the Making of Popular Roots Music," by Barry Mazor (Chicago Review Press, 2014). http://nyti.ms/1G00J8r.
Reid, Gary B. 2015. The Music of the Stanley Brothers. Foreword by Neil V. Rosenberg. Music in American Life series. Urbana: University of Illinois Press. 286 pp. Contents: Death is only a dream: 1947-1948 | To us, that would have been the impossible: Columbia Records, 1949-1952 | Some of our best recordings were the Mercurys: 1953-1958 | "How mountain girls can love": the early King/Starday years, 1958-1962 | "Stone walls and steel bars": the later King years 1963-1966. Discographies, notes, bibliography, indices, b&w photos.
Reish, Greg. 2015. "Down Yonder." Oxford American, no. 91 (Winter): 39-42. Anecdotes from the career history of the 1920s old time string band, the Skillet Lickers.
Ritchie, Fiona, and Doug Orr. 2014. Wayfaring Strangers: The Musical Voyage from Scotland and Ulster to Appalachia. Foreword by Dolly Parton. Chapel Hill: University of North Carolina Press. 361 pp. Includes audio CD featuring 20 songs by musicians profiled in the book. Fiona Ritchie is the host of National Public Radio's The Thistle & Shamrock weekly radio program.
Ritchie, Jean. 2015. Multimedia Feature, Still: The Journal, no. 17 (Winter). Two video clips of musician, folklorist, activist Jean Ritchie (1922-1915) singing: "Rainbow Quest: Jean Ritchie – Shady Grove" (1:29 min.); and "Jean Ritchie Sings Blackwaters" (3:22 min.). http://www.stilljournal.net/multimedia-jeanritchie.php.
Roach, Ron R. 2014. "'The Story of Bluegrass:' Carlton Haney, Bill Monroe, and Redemption Drama in the First Bluegrass Festivals." Journal of Appalachian Studies 20, no. 1 (Spring): 7-23. "One of the most memorable features of [promoter] Haney's early bluegrass festivals was 'The Story of Bluegrass,' a musical narrative recounting the creation of bluegrass as a musical genre."
Rorrer, Kinney, and T. Malcolm Rockwell. 2014. "Champion Records: Old-Time Playing and Singing." Old-Time Herald 13, no 11 (December 2014-January 2015). Links to scanned PDF images of catalogs of song titles and shipping figures from old-time music recordings issued on the Champion label between 1925 and 1934. http://www.oldtimeherald.org/champion/index.html.
Rorrer, Kinney. 2015. "The North Carolina Rambler: Charlie Poole" [1892-1931; biography]. Appalachian Journal 42, no. 3-4 (Spring-Summer): 252-261. "Nearly a century ago...Charlie Poole lived the 'rock 'n' roll' lifestyle, full of alcoholism and tabloid-worthy tales, while he combined the traditional dance music of his home region with the popular music of his generation." He was an old time banjo player and leader of the North Carolina Ramblers and "helped pave the way for commercial country music and bluegrass."
Ruchala, James. 2015. "The Old Folks Danced the Do Si Do: Dancing in the Old-time Music Community of North Carolina" [Surry Co.; 1820-present]. Journal of American Culture 38, no. 1 (March): 39-50.
Sanders, Randy. 2014. "J. William Adkins." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 51-53. Traces the musical path of guitarist Adkins from St. Albans, W. Va., high school dropout to the creation of his doctoral composition at U.Va., Strange Tales from Appalachia.
Satterlee, Dennis. 2016. "'Keep on Going': The Unknown Red Allen Recording." Bluegrass Unlimited 50, no. 12 (June): 42-43. Glenn and Vivian Watson, who are originally from Estill County, Ky. and played their music over local radio stations, recorded in 1959 the now-collectible song, "Just Keep on Going," at the Gateway/Kentucky studio in Cincinnati with Red Allen singing harmony.
Sauceman, Fred. 2014. "Editor's Notebook." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 3. Introduction to this special issue on "Appalachian Music." "For thirty years now, the Floyd Country Store [Floyd, Va.] has hosted the Friday Night Jamboree, a major stop on The Crooked Road: Virginia's Heritage Music Trail."
Sauceman, Fred. 2014. "Looking Up: The Saucemans" [1940s-60s]. Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 17-21. "Carl and J.P. Sauceman most always won the singing contest during...summertime community gatherings...in southern Greene County, Tennessee .... [They] can be credited with bringing bluegrass to the deep South."
Scoggins, Michael C. 2013. The Scotch-Irish Influence on Country Music in the Carolinas: Border Ballads, Fiddle Tunes & Sacred Songs. Charleston, S.C.: History Press. 174 pp. Contents: The musical heritage of the Scotch-Irish | Folk music versus traditional music | Ballads and folk songs | Dance music and instrumentation | Sacred music | The birth of modern country music | Country music forms a new circle.
Simpson, Sturgill. 2014. Multimedia Feature, Still: The Journal, no. 16 (Fall). Profile of Breathitt County, Ky., country musician Sturgill Simpson, with a video clip of him singing "Turtles All the Way Down" (3:04 min.) from his album Metamodern Sounds in Country Music. http://www.stilljournal.net/multimedia-sturgill-simpson.php.
Skaggs, Ricky, with Eddie Dean. 2013. Kentucky Traveler: My Life in Music. New York: itbooks. 338 pp. "Celebrating his fortieth year as a professional musician, the musical prodigy and legend who revived modern bluegrass music presents a candid memoir."
Smith, Anne Chesky. 2014. "Martin Music: Keeping Rural Traditions Alive in Urban Centers." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 13-15. "Marcus Martin [b. 1881] gained fame as a musician in the mill town of Swannanoa," Tenn. "A few years after the Martins made their move to Swannanoa, Bascom Lamar Lunsford began organizing the Mountain Dance and Folk Festival in Asheville. Martin became a favorite...and opened the festival for many years with the traditional tune 'Grey Eagle'."
Smith, Ralph Lee. [1986] 2016. The Story of the Dulcimer. 2nd ed. Charles K. Wolfe Music Series. Knoxville: University of Tennessee Press. 277 pp. "...traces the dulcimer's beginnings back to European immigration to America in the eighteenth and early nineteenth centuries .... In this second edition, Smith brings the dulcimer's history into the twenty-first century with a new preface and updates to the original edition."
Smith, Richard D. 2013. "Saving the Ryman: How the Birthplace of Bluegrass Was Preserved" [opened 1892]. Bluegrass Unlimited 47, no. 12 (June): 32-36. "The Ryman Auditorium is the most celebrated of the Grand Ole Opry's homes."
Smith, Richard D. 2015. "When Bluegrass and Old-Time Music Came to Folk City: Southern Music Featured in a New Exhibit and Book on the Folk Revival in New York." Bluegrass Unlimited 50, no. 3 (September): 32-34. Exhibit on view through November 29 at Museum of the City of New York. Companion book, Folk City: New York and the Folk Music Revival, by Stephen Petrus and Ronald D. Cohen (Oxford University Press).
Spalding, Susan Eike. 2014. Appalachian Dance: Creativity and Continuity in Six Communities. Urbana: University Of Illinois Press. 271 pp. Weatherford Award winner for nonfiction. "Interviews with black and white Virginians, Tennesseeans, and Kentuckians...explore the evolution and social uses of dance practices in each region."
Spottswood, Richard K. 2014. "Pete Seeger (May 3, 1919--January 27, 2014)." Bluegrass Unlimited 48, no. 9 (March): 16.
Spottswood, Dick. 2016. "In the Hills of Roane County: The Story and the Song." Bluegrass Unlimited 50, no. 9 (March): 46-47. "Like 'Tom Dooley'...this is a confession, sung in first person by a murderer who seeks forgiveness for his crime and pity for his punishment." "Bill Monroe's 'Roane County Prison'...and versions of 'In the Hills of Roane County' by...the Stanley Brothers and others can be found on YouTube."
Stern, Lewis M. 2016. Dwight Diller: West Virginia Mountain Musician. Contributions to Southern Appalachian Studies series, no. 39. Jefferson, N.C.: McFarland. 203 pp. "Diller is a 69 year old musician...devoted to traditional Appalachian fiddle and banjo music, and a seminary-trained minister steeped in local Christian traditions. This book tells the story of Diller's life and music, his personal challenges and his decades of teaching an elusive musical form."
Stimeling, Travis D. 2014. The Country Music Reader. New York: Oxford University Press. 382 pp. "...anthology of primary source readings from newspapers, magazines, and fan ephemera encompassing the history of country music from circa 1900 to the present."
Stuart, Chris. 2014. "Alice Gerrard: Not Done Yet" [b. 1934; profile]. Bluegrass Unlimited 48, no. 12 (June): 46-49. Singer/songwriter, editor, collector, and documenter Gerrard was once married to Mike Seeger, founded the Old-Time Herald, and is best known as half of a singing duo with Hazel Dickens.
Stuart, Marty. 2014. American Ballads: The Photographs of Marty Stuart. Edited by Kathryn E. Delmez, with an introduction by Marty Stuart and an essay by Susan H. Edwards. Nashville: Vanderbilt University Press. 115 pp. "...will coincide with an exhibition at the Frist Center for the Visual Arts in Nashville, Tennessee. This book will present images from these three bodies of work: "Badlands" on his time with the Lakota; "The Masters" from his work with musicians; and "Blue Line Hot Shots."
Titon, Jeff Todd. 2013. "Music and the US War on Poverty: Some Reflections." Yearbook For Traditional Music 45, 74-82. Includes discussion of two Baptist groups in the southern Appalachian mountains which the author has followed since the 1970s.
Tottle, Jack. 2014. "Musical Journeys and Improbable Connections: An Appalachian-Hawaiian Kinship." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 55-57. History of Hawaiian steel guitarists and their influence on Appalachian country and bluegrass musicians.
Tottle, Jack. 2016. "ETSU's Archives of Appalachia: A Guided Tour via Time Machine." Bluegrass Unlimited 50, no. 8 (February): 28-30. Overview of remarkable music collections at East Tennessee State University's Center for Appalachian Studies and Services (CASS).
Tribe, Ivan. 2013. "Billy Baker: Fiddler for Sixty Years and Counting" [b. 1936 near Pound, Va.]. Bluegrass Unlimited 47, no. 10 (April): 40-43.
Tribe, Ivan. 2013. "Joe and Stacy Isaacs: Making Mountain Bluegrass." Bluegrass Unlimited 47, no. 11 (May): 40-44. Profile of Joe Isaacs, b. 1947 Jackson Co., Ky.; founder of the gospel group, The Isaacs, and now a member of a duo with Stacy York Isaacs whom he married in 2010.
Tribe, Ivan. 2014. "The Black Mountain Bluegrass Boys: Forty-Six Years of Mountain State Bluegrass" [Pocahontas Co., W. Va.]. Bluegrass Unlimited 49, no. 5 (November): 34-36.
Tribe, Ivan. 2014. "Jim and Valerie Gabehart: West Virginia's Eminent Bluegrass Couple" [Lincoln Co.; both b. 1961]. Bluegrass Unlimited 49, no. 1 (July): 38-41.
Tribe, Ivan M. 2014. "Natchee the Indian: Many Stories, Some Factual." Goldenseal: West Virginia Traditional Life 40, no. 3 (Fall): 50-53. Biography of legendary Depression-era fiddler "Natchee," born Lester Vernon Storer, 1913.
Tribe, Ivan M., and Jacob L. Bapst. 2015. West Virginia's Traditional Country Music [vintage photos]. Foreword by Buddy Griffin. Charleston, S.C.: Arcadia. 127 pp. Contents: The early days | WWVA Radio and the Jamboree | Mountain State Radio to 1945 Later radio and live television | Real folk musicians and bluegrass | West Virginia goes national.
Tyler, Paul L. 2014. "Hillbilly Music Re-imagined: Folk and Country Music in the Midwest." Journal of American Folklore 127, no. 504 (Spring): 159-190. "...the hillbilly is re-imagined to encompass a larger pool of folk musicians whose practices resided beyond the control of the musical establishment of the 1920s."
Watts, Julia. 2014. "Virgil and Rayford: Creating Locally Grown Music from Organic Ingredients" [Ky.]. Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 29-31. Watts reviews CDs by her coal miner father, Rayford Watts, and Virgil Bowlin: Virgil Sings Rayford and Camp House Blues.
Weinstein, Natalya. 2014. "Remembering Jim Shumate: Pioneering Bluegrass Fiddler" [1921-2013]. Bluegrass Unlimited 49, no. 3 (September): 44-45.
Wheeler, Billy Edd. 2016. "Remembering 'Aunt Jenny' Wilson." Goldenseal: West Virginia Traditional Life 42, no. 2 (Summer): 24-25, 73. Old-time banjo player and storyteller Virginia Wilson (1900-1992) was 1984 recipient of the Vandalia Award, West Virginia's highest folklife honor.
Wildsmith, Dana. 2014. "Fly Swift Around Ye Wheels of Time." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 39-40. Shape note singing from The Sacred Harp at Hindman Settlement School, Ky., during Family Folk Week under the direction of Ron Pen.
Wilson-Giarratano, Gail. 2015. Carolina Bluegrass: A High Lonesome History. Charleston, S.C.: History Press. 176 pp. Contents: I. I heard a banjar playin': (Re)birth of the banjo | You can only get there from here | High on the hog -- II. Still pickin' in Carolina: Stories from the fold | Musicians & champions, traditions & memories.
Wilson, Joe. 2013. "The Hill Billies: The Band That Named the Music" [1924; Galax, Va.]. Bluegrass Unlimited 48, no. 1 (July): 42-43. "Due to radio broadcasts from Washington, D.C., and New York, the Hill Billies became the first nationally known country music band."
Winkler, Wayne. 2013. "Sounds from the Clanjamfry." Now & Then: The Appalachian Magazine 28, no. 2 (Winter): 64-67. Profile of Scotsman Jack Beck, co-owner of the Lonesome Pine Bookstore in Big Stone Gap, Va., and producer of the weekly program Celtic Clanjamfry, transmitted from public radio station WETS-FM, Johnson City, Tenn.
Winkler, Wayne. 2014. "Brother against Brother." Now & Then: The Appalachian Magazine 30, no. 1 (Summer): 45-50. History of the Everly Brothers' (Phil and Don) 1950s rise to fame, their influence on a generation of singers, and their feud and famous onstage breakup in 1973.
Winkler, Wayne. 2014. "The Johnson City Sessions: A Story Whose Time Has Come." Now & Then: The Appalachian Magazine 29, no. 2 (Winter): 22-26. "The latest box set collection from Germany's Bear Family Records, The Johnson City Sessions, 1928-1929, documents the work of [Frank B.] Walker and is as meticulously produced and documented as its predecessor, The Bristol Sessions, 1927-1928. Dr. Ted Olson...who initiated and produced The Bristol Sessions [2011], has done the same for the lesser-known Johnson City recordings [2013].
Winkler, Wayne. 2016. "Roy Acuff and the 'Trial of the Century'" [Johnson City, Tenn.]. Now & Then: The Appalachian Magazine 31, no. 2 (Winter): 51-53. Recounts the 1962 trial of Hack Smithfield for the murder of Roy Faircloth at which "The King of Country Music," Acuff, was called to testify.
Wiseman, Mac, with Walt Trott. 2015. All My Memories Fit for Print. Foreword by Charlie Daniels. Madison, Tenn.: Nova Books Nashville. 352 pp.
Withers, Bill. 2015. "Wherever You Go, You Take Yourself"—Interviewing Bill Withers" [b. 1938; W. Va.]. Appalachian Journal 42, no. 3-4 (Spring-Summer): 344-357. Interview by Anna Sale; Introduction by Mark Freed and Trevor McKenzie. Withers, who recorded major hits "Ain't No Sunshine" (1971) and "Lean on Me" (1972), was inducted into the West Virginia Music Hall of Fame in 2007.
Wood, Dave. 2015. "Transcription as a Blessing and a Curse." Appalachian Journal 42, no. 3-4 (Spring-Summer): 404-411. Review essay of The Milliner-Koken Collection of American Fiddle Tunes, transcribed and annotated by Clare Milliner and Walt Koken (Mudthumper Music, 2011).
Worthington, TJ. 2014. "Howard Joines: Mountain Fiddler in Changing Times" [1908-1981]. Old-Time Herald 13, no. 7. Joines was a master fiddler in Alleghany Co., N.C. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-7/index.html.


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Taste of Sarawak
Code : DOM 02
Day 1 : Arrival / Damai Beach Resort or Damai Puri Resort (Dinner included)
Arrive KCH International Airport, meet and transfer to Damai Beach Resort / Damai Puri Resort.
Free time to explore the resort and/or surrounding attractions – Sarawak Cultural Village, Mount Santubong
jungle trek and Damai Central.
Dinner. Overnight.
Day 2 : Sarawak Cultural Village / Cooking lesson / Damai Beach Resort or Damai Puri Resort (Breakfast/Lunch/Dinner included)
Morning, pick up from your hotel and proceed to Sarawak Cultural Village. The award winning Sarawak Cultural Village
Is home to World Harvest Festival and Rainforest Music Festival. Learn to cook Sarawak ethnic food such as Ayam Pansuh (Chicken cooked in bamboo) or fish cooked in banana stem.
Handicraft lessons and lunch at the village. After lunch, tour the village and enjoy the cultural show in the theatre. Dinner at local seafood restaurant. Overnight at Damai Beach Resort / Damai Puri Resort.
Day 3 : Kek Lapis factory / Main Bazaar / Kuching Waterfront / Departure
Check out and proceed to Kilang Kek Lapis, Main bazaar for any last minute shopping and Kuching Waterfront. Transfer to Kuching Airport for departure flight.
Damai Beach/Damai Puri
Adult (Twin)
RM840 per person
Child (2 – 11 yrs)
RM504 per Child
Single Supplement
RM210 per person
Return airport-hotel transfer based on Seat-in-Coach
2 nights accommodation, meals and tours as mentioned
English/ Bahasa Malaysia speaking guide
Terms & Conditions:
This package is for a min of 2 persons and is valid till 31 Dec 2014.
Rates are based in Ringgit Malaysia
Package is for Domestic markets (Malaysia / Brunei / Singapore / Indonesia)
Items not utilized in this package are non-refundable and non-exchangeable
Items not included in the itinerary are chargeable at extra cost.
Midnight transfer surcharge @ RM10 pp (11pm – 7am)

subset: commoncrawl


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I absolutely love the photo of my great-grandfather Harry with his prize catch. This photo was taken in Atlantic City. The cat makes the photo, along with Harry's huge smile while showing off his big fish.
I'm pretty sure Harry wasn't expecting to compete with a cat for his dinner.
I don't know why I decided to do a post themed "surprise cats." I guess, this photo reminded me of one that I took a while ago and was the first photo that I ever posted on Flickr.
See the kitten in the middle? I didn't notice that before. I just shot the candid people at the time. Then I got my film developed. Boom! Surprise cat!


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s t o k e r
1st March 2013
Park Chan-wook
Mia Wasikowska
98 Minutes
15th March 2013
To become adult is to become free. That quote is at the heart of Stoker, Park Chan-wook's glossy gothic coming of age story where nothing is quite as it seems.
We join mysterious teen India Stoker (Mia Wasikowska) and her shallow, vain mother, Evie (Nicole Kidman) as they discover the death of India's beloved father in a terrible road accident. This catastrophic event heralds the arrival of mysterious handsome Uncle Charlie (Matthew Goode) and with it a whole cacophony of family secrets. Other family members come and mysteriously go whilst Uncle Charlie gets his feet more and more under the dysfunctional family table, growing close to both matriarch and daughter so it becomes a bizarre almost incestuous triangle of mixed emotions. Family members who come too close begin disappearing and the closer India looks into Charlie's glossed veneer the more cracks appear and the truth slowly begins to unravel.
The difficult mother daughter relationship has provided plenty of fuel for cinematic fires, Laura Dern and Dianne Ladd in Wild at Heart, Faye Dunaway and Dianne Scarwidd as the Crawfords in Mommie Dearest and erm.. Amy Peohler and Rachel McAdams in Mean Girls. OK that last one is a stretch, I just love that movie and that relationship. Now we have the glorious angst ridden relationship of India and Evie Stoker in what seems to be a mutually (un)beneficial relationship. One of the opening images of Evie and India side by side at the funeral is so striking. Mother and daughter so very different in every way. At one point Evie says to India "Who are you? Aren't you supposed to love me?' Any love that India did have within her seems to have gone to her late father, their bond and their beloved hunting trips. That love now seems to be transferring to Uncle Charlie, provider of her beloved shoe packages and awkward almost incestuous moments. The bond between Charlie and India is one born of blood. They have a strange sparkle in both sets of dark blue eyes, ethereal, like a spider fixing on it's prey. 'We don't need to be friends' India tells Charlie over yet another painfully strained family dinner, 'We're family'.
Stoker is riddled with Hitchcockian themes. There are obvious comparisons to A Shadow of a Doubt's sinister Uncle Charlie coming to reform a bond with his innocent niece; more literal are the dead birds, shower scene and Kidman's femme fatale (although she isn't quite a blonde). Park was originally slated to direct Hitchcock (I'd love to see who else was on a list of directors that included Park and Sasha Gervasi). Park has also previously stated Hitchcock was the main reason he started directing.
This is a quiet film. The script is strangely sparse and Park uses these silences to invade the silence with other noises. India rolling eggs back and forth on the table at her father's wake is deafening. Crickets are overwhelmingly loud. Humans, by comparison, are very quiet, moving about the beautiful house silently, separately, each with their own secrets. India doesn't smile much in this movie. She barely smiles at all. The only time we see something approaching happiness or joy is in the shower scene and at the very end. India's face has a permanent blankness that Mia has somehow managed to make interesting. It's a fascinating performance and Mia is mesmerising. The transformation from angry, insular teenager reading funeral books to the dangerous and powerful young woman is immense fun to watch. Nicole Kidman is in fine melodramatic form as Evie, she's clearly having fun with this role and Matthew Goode is a nice surprise as Uncle Charlie, managing to pull off handsome and creepy with just the right balance.
The piano is a sexual instrument in Uncle Charlie's courtship of both mother and daughter, at one point India's duet with Charlie leaves her in a somewhat 'sated' state. I adore Clint Mansell so was pleased that he had created another effective and haunting piece of music to accompany the Phillip Glass set pieces.
Stoker is a feast for the eyes. Park used his usual Korean cinematographer Chung hoon-Chung but his new relationships with production design of Therese DePrez and costume designers Kurt and Bart feel like they were forged long ago, everything flows together in this blue/green world that these characters inhabit. Costume is an integral part of this story. The shoes. India's father's belt. India's costume in particular tells a story she transforms throughout the film. At the start she wears stylish but drab clothing that covers her up and, like her personality, says nothing about who she is, she also wears outfits made up of items from her family. Her father's belt, her mother's shirt, the shoes her uncle has given her. The same shoes she has worn since a baby. The sartorial shift isn't too huge as she evolves, it's subtle but felt. Hemlines rise, fabrics become sheer; it's beautifully done. A favourite image of mine is India laying down surrounded by all the shoes she has been given by Uncle Charlie over the years, all identical, all in the same box with the same yellow ribbon tied around them. The last pair of shoes from Uncle Charlie is a pair of crocodile skin, predatory Christian Louboutins. Highly inappropriate and perfect for India's final rite of passage. Crocodile because she is a hunter, high heels because she is of age. Pointed toe. A seductress. A woman. An adult. Free.
We are not on anyone's side in Stoker. It's not until the end of the movie that we see anyone approaching anything that seems like humanity. It's an fascinating foray for Park Chan-wook into the world of American film making. Meticulously designed and marvellous in it's fakery, Stoker is not to be taken too seriously, it's a smokin' one night stand whose scent remains on your pillows for quite some time.


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Find your zen
Zen Space, located at 16 S. Highland Avenue in Highland Square- is a new yoga and meditation studio brought to life by Yoga Squared.
Why a new space? One of our main goals is to bring the practices of yoga and meditation to unexpected places. When we saw our community's interest in meditation start to rise, we knew that we wanted to create a space right in the middle of the action where our friends and neighbors could stop and sit still. Where meditation feels inviting, not intimidating. Where different styles of yoga coexist with unique and special meditation classes designed to cultivate different experiences and energies.
We have also noticed-as have you, if you're a regular student at Yoga Squared-that our after-work crowd is strong! We have been brainstorming for a long time about how to create more space in our nightly rotation, so we knew that we wanted to provide options for yoga at Zen Space, as well. Bring on the Non-heated Power and Yin/Yang classes!
Finding the space felt so easy. Of course, there was hard work to be done in order to create the feeling we were looking for: alive, peaceful...a diamond in the rough that is the heart of the Square. Our friends at Every Blooming Thing were there to listen and help us choose the plant life and decor that would give the space the liveliness and beauty that it needed. Our friends, family, and even our students jumped right in with ideas, support, and so, so much help.
We are beyond excited to bring this new space to our neighborhood, but more than that...we're thankful. We are thankful to our students for showing up day in and day out, willing to put in the work to make huge shifts. You have inspired us, and in turn, we want to provide more inspiration and more possibility to you. These practices may be ancient, but they are something that the modern city dweller wants and needs, too. Thank you for allowing us to fill a void in Highland Square-we are so happy to have been planted here.
what to expect
What is the ZS experience like? This 14-person studio is equipped with luxurious cushions and props, including the latest Manduka GRP mats, Samaya meditation cushions, and the high-quality blocks and straps you're accustomed to at YS! When you arrive for any ZEN meditation class, you'll find that all props are assembled for your use. In the neighborhood and jonesing for a 30-minute retreat? Just drop by- we have everything you need.
Meditation attire is a little more flexible. On your way home from work with no time to change? Just stop in and sit down. There is a small changing area as well as a small restroom, but space is at a premium at ZS, so please pack lightly! We have small key/phone cubbies and purse/coat hooks, and our doors will always be locked during class.
Coming by for yoga? You're welcome to bring your own mat, but we will always have a mat available for each student at ZS to use. All props are available at all times. We want you to feel comfortable and cared for at Zen Space.
Where to park... ZS is located right in the Square, about a 1 minute walk from Yoga Squared. There is street parking on S. Highland in front of the building. If those spots are taken, you might need to park in another one of HSQ's parking lots or street spaces.
Yoga Drop-In: $10
Meditation Drop-In: $8
YS/ZS CLASS PACKS: (You may use class packs for both YS and ZS Classes)
5 Class Pack: $45
10 Class Pack: $85
20 Class Pack: $160
$75/Month for access to both Highland Square Studios! This is a minimum of a 3 month commitment and after that you can request to cancel your membership with a 30-day written notice to be submitted through email or in person!
Space in the Zen Space studio is limited, and as a result we will have a tighter cancellation policy than the liberal (lack of) policy at the YS Mothership. You must cancel your class or cushion within 2 hours of the class start time so that other students are able to book or you forfeit your class (if using a class pack) or suffer a $5 late cancel fee for unlimited members.
Ahh! If you know us, you know we don't like to be strict, but we want you (and you, and you) to have sensible access to find your energy, breath, peace, and ZEN!
We want you to be able to access this space when you need it the most, whether that's every day, once a week, or anything in between. Growing this woke community means we must work together!


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Canon [NYSE:CAJ] is reportedly refreshing their 5D digital SLR with a new version called the 5D Mk II, which may arrive as soon as September at the Photokina show. CanonRumors is spreading word that they've gotten leaked specs for the 5D Mk II, which their sources say will feature a full-frame, 21.1MP sensor, DIGIC IV, and even a movie mode that can shoot in HD.
Film speeds will range from ISO 100 to a whopping ISO 6400, and burst shooting mode will capture at five frames per second. Like many new dSLRs, the new 5D will feature live view on its 3.2-inch high-res screen. As if all this weren't enough, Canon is also adding an incredible 19-point autofocus feature, and full weather-resistant sealing.
To be sure, none of these specs are set in stone, and 21 megapixel is a huge marginal improvement over the old 5D. The real 5D will hopefully stand up by fall.


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Oakland Pride Festival and Parade/
Oakland Pride has long been known as one of the most diverse and family friendly pride festivals in the world, and we here at Rainbow Street couldn't be more excited to be part of history by marching in its first ever parade!
The parade kicks off Sunday morning at 10:30, stretching along Broadway from 14th to 20th Streets in Downtown Oakland. Rainbow Street will be out celebrating the diversity of the East Bay community and raising awareness for LGBT people living in crisis in the Arab World.
Interested in marching with Rainbow Street? It's not too late to join! Get in touch anytime before Sunday, and we'll send you all the details.
Happy Pride!


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guys, my table is super fancy right now! and for no special reason.
i know, i know... you're all... whoa, what? you can't just be gone from blogging for more than a month and then be all up in our face with a fancy table! we're not your booty call, that you can just show up whenever you want and expect some love...
sorry guys, i totally understand. i guess i'm just struggling to commit to this internet relationship. but you know what? i do like you, a lot. just trying to figure out if i want to be married or just date you occasionally. it's not you. it's me.
wow, there are a lot of awkward relationship references going on right now. sorry.
anyway, like i said. my table is fancy. before i took my long break from blogging (which was to join my husband in San Diego for 4 weeks of summer camp at Hume SD), in an effort to find something unimportant to take away the stress of packing my entire family for 4 weeks, i decided it would be a good idea to make a dozen linen napkins... that we wouldn't be using for over a month... just because... it wasn't like i had anything else to do... like pack....
and a few weeks before we left i went garage selling with my good friend and scored on some white dinnerware! i don't know if you remember how much i've been wanting white dinnerware, but here's a reminder. i used my new napkins and dinnerware as an opportunity to set my table up all fancy.
and the best part was that the kids helped! they loved joining in the assembly line and layering all the pieces. after i took pictures we enjoyed an equally fancy lunch of hot dogs, carrots, and cottage cheese with apple sauce. CLASSY. they were excited and that's all that matters.
the dishes are Centura by Corning and i hear they are actually real vintage. i looked up purchasing a couple bowls and one bowl is running $15 to replace. i got 10, 6 piece place settings for.... $10!!!! so excited.
for the napkins, i purchased several yards of linen in the color Lake (its a deep teal if you can't tell in the pictures) and used this sewing tutorial to make 10 mitered napkins. the latte bowls are from Anthro, and my silverware and water glasses are from Ikea.
i love my table this way. the kids want to keep it this way "FOREVER!!!"... now i just need to host a dinner party so other people can enjoy it!


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Serapis (Latin spelling, or Sarapis in Greek) was a syncretic Hellenistic-Egyptian god in Antiquity. His most renowned temple was the Serapeum of Alexandria.[1] Under Ptolemy Soter, efforts were made to integrate Egyptian religion with that of their Hellenic rulers. Ptolemy's policy was to find a deity that should win the reverence alike of both groups, despite the curses of the Egyptian priests against the gods of the previous foreign rulers (i.e Set who was lauded by the Hyksos). Alexander the Great had attempted to use Amun for this purpose, but he was more prominent in Upper Egypt, and not as popular with those in Lower Egypt, where the Greeks had stronger influence. The Greeks had little respect for animal-headed figures, and so a Greek-style anthromorphic statue was chosen as the idol, and proclaimed as the equivalent of the highly popular Apis.[2] It was named Aser-hapi (i.e. Osiris-Apis), which became Serapis, and was said to be Osiris in full, rather than just his Ka (life force).
The earliest mention of a Serapis is in the disputed death scene of Alexander (323 BC).[3] Here, Serapis has a temple at Babylon, and is of such importance that he alone is named as being consulted on behalf of the dying king. His presence in Babylon would radically alter perceptions of the mythologies of this era, though fortunately it has been discovered that the unconnected Babylonian god Ea (Enki) was titled Serapsi, meaning king of the deep, and it is possibly this Serapsi which is referred to in the diaries. The significance of this Serapsi in the Hellenic psyche, due to its involvement in Alexander's death, may have also contributed to the choice of Osiris-Apis as the chief Ptolemaic god.
According to Plutarch, Ptolemy stole the cult statue from Sinope, having been instructed in a dream by the unknown god, to bring the statue to Alexandria, where the statue was pronounced to be Serapis by two religious experts. One of the experts was of the Eumolpidae, the ancient family from whose members the hierophant of the Eleusinian Mysteries had been chosen since before history, and the other was the scholarly Egyptian priest Manetho, which gave weight to the judgement both for the Egyptians and the Greeks.
Plutarch may not however be correct, as some Egyptologists allege that the Sinope in the tale is really the hill of Sinopeion, a name given to the site of the already existing Serapeum at Memphis. Also, according to Tacitus, Serapis (i.e. Apis explicitly identified as Osiris in full) had been the god of the village of Rhakotis, before it suddenly expanded into the great capital of Alexandria.
The statue suitably depicted a figure resembling Hades or Pluto, both being kings of the Greek underworld, and was shown enthroned with the modius, a basket/grain-measure, on his head, since it was a Greek symbol for the land of the dead. He also held a sceptre in his hand indicating his rulership, with Cerberus, gatekeeper of the underworld, resting at his feet, and it also had what appeared to be a serpent at its base, fitting the Egyptian symbol of rulership, the uraeus.
With his (i.e. Osiris') wife Isis, and their son (at this point in history) Horus (in the form of Harpocrates), Serapis won an important place in the Greek world,[4] reaching Ancient Rome, with Anubis being identified as Cerberus. In Rome, Serapis was worshiped in the Iseum Campense, the sanctuary of the goddess Isis located in the Campus Martius and built during the Second Triumvirate. The Roman cults of Isis and Serapis gained in popularity late in the first century thanks to the god's role in the miracles that the imperial usurper Vespasian experienced in the city of Alexandria, where he stayed prior to his return to Rome as emperor in 70 AD. From the Flavian Dynasty on, Serapis sometimes appeared on imperial coinage with the reigning emperor. The great cult survived until 385, when a Christian mob destroyed the Serapeum of Alexandria, and subsequently the cult was forbidden by the Theodosian decree.
The early Alexandrian Christian community appears to have been rather syncretic in their worship of Serapis and Jesus and would prostrate themselves without distinction between the two.[5] A letter inserted in the Augustan History, ascribed to the Emperor Hadrian, refers to the worship of Serapis by residents of Egypt who described themselves as Christians, and Christian worship by those claiming to worship Serapis, suggesting a great confusion of the cults and practices:
The land of Egypt, the praises of which you have been recounting to me, my dear Servianus, I have found to be wholly light-minded, unstable, and blown about by every breath of rumour. There those who worship Serapis are, in fact, Christians, and those who call themselves bishops of Christ are, in fact, devotees of Serapis. There is no chief of the Jewish synagogue, no Samaritan, no Christian presbyter, who is not an astrologer, a soothsayer, or an anointer. Even the Patriarch himself, when he comes to Egypt, is forced by some to worship Serapis, by others to worship Christ.[6]
Mouldmade lamp with a bust of Serapis, flanked by a crescent moon and star. Roman, made in Ephesus 100-150. Said to be from Egypt. British Museum
Hellenistic-Roman terracotta head of Serapis, iconographically close to Zeus (Staatliches Museum Ägyptischer Kunst, Munich)
Zeus of Otricoli
Statuette of Serapis from Begram, Afghanistan
Head of Sarapis (150-200 CE),
Serapis at the Walters Art Museum in Baltimore, Maryland
SERAPIS, the famous Graeco-Egyptian god. The statue of Serapis in the Serapeum of Alexandria was of purely Greek type and workmanship - a Hades or Pluto enthroned with a basket or corn measure on his head, a sceptre in his hand, Cerberus at his feet, and (apparently) a serpent. According to Plutarch, Ptolemy Soter stole it from Sinope, having been bidden by the unknown god in a dream to bring him to Alexandria. On its arrival the statue was pronounced to be Serapis by two experts in re]igiou,5 matters: the one the Eumolpid Timotheus, the other the Egyptian Manetho. This story may not be true (some contend that Sinope as the provenance of the statue originated in the hill of Sinopeion, i.e. place of Apis (?), a name given to the site of the Serapeum at Memphis), but there is little doubt that Ptolemy Soter fixed the iconic type to serve for the god of the new capital of Egypt, where it was soon associated with Isis and Harpocrates in a triad. His policy was evidently to find a deity that should win the reverence alike of Greeks and Egyptians. The Greeks of that day would have had little respect for a grotesque Egyptian figure, while the Egyptians were more willing to accept divinity in any shape. A Greek statue was therefore chosen as the idol, and it was proclaimed as the anthropomorphic equivalent of a much revered and highly popular Egyptian beast-divinity, the dead Apis, assimilated to Osiris. The Greek figure probably had little effect on the native ideas, but it is likely that it served as a useful link between the two' religions. The god of Alexandria soon won an important place in the Greek world. The anthropomorphic Isis and Horus were easily rendered in Greek style, and Anubis was prepared for by Cerberus. The worship of Serapis along with Isis, Horus and Anubis spread far and wide, reached Rome, and ultimately became one of the leading cults of the west. The destruction in A.D. 385 of the Serapeum of Alexandria, and of the famous idol within it, after the decree of Theodosius, marked the deathagony of paganism throughout the empire.
It is assumed above that the name Serapis (so written in later Greek and in Latin, in earlier Greek Sarapis) is derived from the Egyptian Userhapi - as it were Osiris-Apis - the name of the bull Apis, dead and, like all the blessed dead, assimilated to Osiris,. king of the underworld. There is no doubt that Serapis was before long identified with Userhapi; the identification appears clearly in a bilingual inscription of the time of Ptolemy Philopator (221-205 B.C.), and frequently later. It has, however, been contended by an eminent authority (Wilcken, Archiv fitir Papyrusforschung, iii. 249) that the parallel occurrence of the names Sarapis and Osorapis (Userhapi) points to an independent origin for the former. But doublets, e.g. Petisis-Petesis, are common in Graecisms of Egyptian names. The more accurate form is then generally the later, found in documents written by Greeks in familiar intercourse with Egyptians, the less accurate is traditional from an older date in the mouths of pure Greeks and Hellenists, and is used in literary writings. Thus Sarapis would be the literary and official form of the name; it might be traditional, dating perhaps from the reign of Amasis or from the Persian period. We know that in Herodotus's day, and long before, the discovery of the new Apis was the occasion of universal rejoicing, and his death of universal mourning. The ancient Serapeum (Puserhapi) and the name Userhap would be almost as familiar to early Greek wanderers in Egypt as the Apieum and Apis itself.
But why was a Plutonic Serapis selected rather than another god to furnish the Egyptian element to the chief divinity of Alexandria? According to one account in Tacitus, Sarapis was the god of the village of Rhacotis before it suddenly expanded into a great capital; but it is not very probable that temples were erected to the dead Apis except at his Memphite tomb. Alexander had courted Ammon. But Ammon had little hold on the affections of the Egyptian people. He was the god of Ethiopia and the Thebais which were antagonistic to the progressive north. On the other hand, Osiris with Isis and Horus was everywhere honoured and popular, and while the artificer Ptah, the god of the great native capital of Egypt, made no appeal to the imagination, the Apis bull, an incarnation of Ptah, threw Ptah himself altogether into the shade in the popular estimation. The combination of Osiris and the Apis bull which was found in the dead Apis was thus a most politic choice in naming the new divinity, whose figure represented a god of the underworld wearing an emblem of fruitfulness.
The earliest mention of Sarapis is in the authentic death scene of Alexander, from the royal diaries (Arrian, Anabasis, vii. 26). Here Sarapis has a temple at Babylon and is of such importance that he alone is named a being consulted on behalf of the dying king. It would considerably alter our conception of the dead Apis if we were to find that a travelling shrine of his divinity accompanied Alexander on his expedition or was set up for him in Babylon. On the other hand, the principal god of Babylon was Zeus Belus (Bel Marduk), and it is difficult to see why he should have been called Sarapis on this occasion. Evidence has, however, been found to prove that Ea, entitled Sarapsi, "king of the deep (sea)," who was also great in learning and magic, had a temple in the city (Lehmann in Beitrlige zur alten Geschichte, iv. 396). It seems unwarranted to make this Sarapsi= Sarapis travel to Sinope and thence to Alexandria as the type of the Egyptian god; but whether or no the Egyptian appellation Sarapis was applied to express the Babylonian Sarapsi, the part it played in the last days of Alexander may have determined the choice by which the Egyptian Osiris-Apis supplied the name and some leading characteristics to the god of Alexandria.
See Isis; A. Bouch&Leclercq, Histoire des Lagides, i. (1903), ch. iv.; J. G. Milne, History of Egypt under Roman Rule (1898), p, 140; G. Lafaye, Histoire du culte des divinites d'Alexandrie hors de l'Egypte (Paris, 1884). (F. LL. G.)
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Categories: SEE-SER | Religion and mythology
Serāpis (genitive Serāpidis); m, third declension
The genitive may also be formed as Serāpis.


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Statement of Mission
The mission of Oak Brook College of Law and Government Policy is to train individuals who desire to advance the gospel of Jesus Christ through service as advocates of truth, counselors of reconciliation, and ministers of justice in the fields of law and government policy.
Perspective and Convictions
It has been said, "The only thing necessary for the triumph of evil is for good men to do nothing." At Oak Brook College, our vision is to train attorneys who have the conviction, knowledge, and skill to actively stand for truth and against the evil in this world. This commitment means that a student's training in worldview and legal philosophy is of utmost importance to our faculty. All laws are based upon policies, and policies, in turn, are based upon an individual's perspective of truth. For this reason, gaining a proper foundation of truth is a pursuit of primary importance at Oak Brook. Oak Brook College faculty and students are committed to a proper understanding of the Laws of Nature and Nature's God and the self- evident truths articulated by our Founding Fathers in the Declaration of Independence. As a result of these commitments, Oak Brook students also actively reject the faith of evolution and the religion of secular humanism. As students progress in their studies, they will learn the Biblical and historical foundations of American law and be challenged to make conventional application of these principles to today's legal and governmental issues.
The faculty and students further pursue Godly wisdom by memorizing and meditating upon Scripture, and seek to use this wisdom in resolving conflicts, developing strategies, and implementing policy. As believers in the Lord Jesus Christ as their personal Savior, Oak Brook College students rely upon the indwelling Holy Spirit to develop in them Christ-like character qualities such as humility, integrity, boldness, diligence, initiative, and responsibility.


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This morning, getting ready for work.
Foodie: I hate all of my clothes! Will you turn down that music?
Beast: (Turns up the music and starts dancing.)
Foodie: (Calmly) I know you need attention from me right now but I am very late for work and I just need to pick out an outfit here but I'm having a very difficult time because–
Beast: Because I'm being too fucking cute? Fine, I'll stop.
Foodie: Can you go downstairs or something? I just really need some alone time. I truly have no clothes. None of my pants fit. Here, you want this pair?
Beast: These black ones? Fuck yeah! These are awesome! (He tries them on.)
Foodie: They're a bit short on you.
Beast: I like them like that. Why don't you want them?
Foodie: They're too big–I look like I shit myself when I wear them.
Beast: You're being a real skinny bitch this morning.
The Beast has taken quite a liking to calling me a skinny bitch. Just to be clear, I'm not skinny, but I have lost a little weight, which I don't want to talk about: just trust that I did it in a healthy way, without pills or cleanses, and mostly just by having one dinner at night instead of two. Unfortunately, not only do I have just one pair of pants that fit me (which I wore every day last week) but I also recently gave away two garbage bags filled with skinny clothes–including a winter coat and several pairs of pants–that I could really use right about now.
Beast: I don't like you so skinny.
Foodie: Will you please stop calling me that! I'm not skinny!
Beast: Well you sure act like you are! I hate it! You're being so mean to me this morning. I wish you were fat again.
Foodie: (Contorting over with laughter). I AM STILL KIND OF FAT! STOP CALLING ME SKINNY! Listen. I'm sorry. But you know sometimes I just need quiet time in the morning. No free jazz. No hillybilly music. I JUST NEED TO GET DRESSED ALONE. It's hard picking out an outfit when you're standing right behind me.
Beast: Want to take the subway together this morning?
Foodie: I'm going to be another ten minutes here at least.
Beast: I'll wait.
Foodie: Ah, okay, but would you be offended if I read? That's the only nice part about taking the subway over riding my bike.
Beast: Yes, I would be offended. I want to talk the entire way.
The Beast did wait. And he watched me, in very close proximity, put on my boots and throw shit into my bag like a maniac, and he also let me leave the house wearing an outfit that makes me look like a cowgirl, or a cowgirl wearing Luke Skywalker boots.
On the subway
Foodie: How was the white bean and sausage stew I made yesterday? (I made the stew in the afternoon before leaving the house for the evening. The Beast and I were supposed to meet at home and eat it together, but I ended up eating elsewhere, and because I only eat one dinner now instead of two, I declined a bowl once we got home. Instead, while Robocop played on the television, the Beast ate the stew and I fell asleep on the couch.)
Beast: It was really good.
Foodie: Was it good enough for me to make again?
Beast: No.
Foodie: Did it need salt?
Beast: No, the seasoning was fine–it's just that the beans were a little hard.
Foodie: They couldn't have been that hard–you had about three servings in your big bowl.
Beast: They were still a bit hard.
Foodie: Damn it! I'm sorry, but I had to leave the house before they were completed cooked through and I thought that if I just left the pot on the burner after I turned off the stove that it would do the trick.
Beast: That's okay. I could have made dinner too you know. In fact, I think we should have tacos one night this week.
Foodie: That's a great idea! You could do a taco night–you could handle that!
Beast: I want pork chops too. Do you have any pork chop recipes?
Foodie: Well, there's that Jamie Oliver one where you roast pork chops with potatoes, parsnips and pears.
Beast: Yuck! I'm done with European food: No more pears. No more parsnips. I'm only eating American food from now on.
Foodie: I don't think it's a typically "European" dish though–
Beast: No way. I just want pork chops and–
Foodie: Mashed potatoes?
Beast: No, french fries. Wait–Freedom Fries.
Foodie: You want pork chops and fries for dinner?
Beast: Yes.
Foodie: And you're going to make this?
Beast: (Pause) Yes. Where do I buy pork chops from?
Foodie: (TBA–We are having the white bean and sausage stew again tonight.)
Beast: *1/2
Categories: At Home


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To combat creeping insanity from juggling a million ideas around in my head at any one time, I started painting.
It was very interesting because I realised that painting was probably the first thing I ever did at school. Before I could even read or write. Before I was even properly toilet trained. Barely on solids. Yet I was allowed to paint. Whatever I liked, whatever I wanted, no matter how utterly crap or stupid it was. Cats that looked like pigs, horses like gateposts. Didn't matter, we were kids. Infants. Toddlers. Babies.
As an adult though the accepted wisdom is that if you're not Picasso, Van Gogh, or Monet, 'Don't give up your day job!
It was why I felt intimidated at first. I didn't know what I was doing. The only paintbrushes I'd picked up in the past forty years were ones to paint walls with. I didn't even know how to hold these ones. Like a pencil? A gun? A knife? A spear? Do I make an outline on the paper first or do I just paint? Do I paint what I see or what I don't.
So many questions blurred my mind and the the phrase 'Don't give up your day job?' rattled round my head like a marble. I nearly gave up and packed up my brushes. Then I realised something: I haven't got a day job. I don't even have a job. Plus, does it really matter if my cats look like chickens?
That was last year. Now I paint when I feel like it, as a sort of sedative to soothe my overactive mind. It seems to work. I'm still not as bold as I'd like to be. I still hold back and veer towards traditional views and objects. But perhaps if I continue and gain more confidence, I'll be able to go deeper into my soul and drag out something really wonderful.
In the meantime here's a selection.