Demanding ban of Christmas classic is a disturbing display of censorship
Musings from the Curmudgeon-in-Chief
LENOIR, N.C. – It was inevitable I suppose. While I generally support the #MeToo movement, I knew it was only a matter of time before the intolerant extremists that are part of it would turn the movement into thought police.
They have. They have proven to be tone deaf in demanding that radio stations ban the Christmas classic, “Baby, It’s Cold Outside,” as reported by NPR. The demand is based on the belief that the song encourages date rape. You can listen to a cover of it by James Taylor and Natalie Cole.
I guess you hear what you want to hear.
The censorship must stop here. Before long, classical poems such as Andrew Marvell’s “To His Coy Mistress” (written in 1681) will be banned. Read it. You’ll find it incredibly offensive if this song bugs you.
So, I’ve got to oppose the #MeToo movement on this. Censorship seems totally inconsistent with the movement’s values. Perhaps not, but I am an ally because it is consistent with my values. Decades before the #MeToo movement was born – before most of those involved in it were born! – I was working hard in North Carolina in the second half of the 1970s to get the Equal Rights Amendment passed. If the #MeToo movement cares about keeping its allies, it needs to avoid ridiculous debates such as this.
Finally, I wish to remind the #MeToo movement that there are sometimes attractions between members of the opposite sex and persistence doesn’t always lead to rape; sometimes it leads to a lifetime of commitment and maybe even a family. It’s called courting and I enjoyed the hell out of it.
I wouldn’t today. I’d just be a committed bachelor. There was once excitement and joy in courting. If the #MeToo movement has its way, you’ll have to read about it in the history books. Or, you could read Marvell’s poem above. But prepare to be scandalized. It seems that for centuries, this desire has always existed. There is nothing desirable about being metaphorically stiff-armed before you get a chance to say, “Nice to meet you.”
Yes, courting is a delicate dance. But it is a dance. Sometimes, when you dance, you get too close. Other times, you get pulled closer. What do you do then? Keep dancing and take your chances.
Such is the life of a curmudgeon.
© Michael M. Barrick, 2018. Photos courtesy of Unsplash.
Caldwell Arts Council to host event Oct. 18, which includes Open Mic time
LENOIR, N.C. – After a short summer break, Poetry Caldwell is back at the Caldwell Arts Council (CAC), with artist and poet Jonathan Kevin Rice set to appear on Oct. 18. As always, Poetry Caldwell is free and open to all.
Held in the upstairs gallery, the event starts at 6:30 p.m. A short open mic will be held following Rice’s reading. Interested individuals may sign up to participate in open mic by calling the CAC at (828) 754-2486.
Rice edited Iodine Poetry Journal for 17 years and served as a co-editor for Kakalak in 2016. He most recently co-edited “Of Burgers & Barrooms,” an anthology published by Main Street Rag Publishing in 2017.
He is the author of two full-length poetry collections, “Killing Time” (2015), “Ukulele and Other Poems” (2006) and a chapbook, “Shooting Pool with a Cellist” (2003), all published by Main Street Rag Publishing. His poetry and art have appeared in numerous publications, including The Aurorean, Cold Mountain Review, Comstock Review, Empty Mirror, Gargoyle, Inflectionist Review, Levure Litteraire, The Main Street Rag, Wild Goose Poetry Review and the anthologies, “Hand in Hand: Poets Respond to Race” and “The Southern Poetry Anthology VII: North Carolina.”
His art has appeared in a number of group and solo exhibits in the Carolinas. Most recently his show “Excursions: Paintings by Jonathan K. Rice,” ran through June 2018 at the North Charleston City Gallery.
He is the recipient of the 2012 Irene Blair Honeycutt Legacy Award for outstanding service in support of local and regional writers, awarded by Central Piedmont Community College. Rice lives in Charlotte.
The Caldwell Arts Council presents the arts in all its forms to the people of Caldwell County. Located at 601 College Avenue SW in Lenoir, N.C. 28645, the CAC is open Tuesday-Friday from 9 a.m. to 5 p.m. and Saturday from 10 a.m. to 2 p.m. It is free and open to the public.
Editor’s note: When first posted, Mr. Rice’s first name was spelled incorrectly in the headline. Sorry for the error.
Caldwell Art Council’s newest exhibit ‘Double Vision: Artists in Ireland’ opens Friday
An additional exhibit, ‘Correspondence: A Postcards Show,’ is included; sales benefit the CAC
LENOIR, N.C. – Two exhibitions and an artist talk are opening at the Caldwell Arts Council (CAC) this Friday, Oct. 5.
“Double Vision: Artists in Ireland” will feature North Carolina artists Jean Cauthen and Diane Pike. Cauthen, a professor as well as a painter, is from Charlotte. Pike is from Denver.
The other exhibit, “Correspondence: A Postcards Show” is an artist invitational with each exhibiting artist creating one or two works of art utilizing a 4” x 6” substrate, with all sales of postcards artwork benefitting the CAC.
The exhibitions begin with an artist talk by Cauthen at 4:30 Friday afternoon, followed by a reception hosted by the Lenoir Service League from 5 to 7. In her talk, “From Studio to Suitcase,” Cauthen presents the pleasures and humorous perils of art travel. With examples of Degas in New Orleans and Monet in Venice she explores the effects of travel on an artist’s body of work. In her own work, she demonstrates how Irish Scones, Guinness, and Pub Theatre have swayed her own dubious artistic choices.
Cauthen holds an MFA in Painting and Drawing from James Madison University, a BFA in Painting and Drawing from East Carolina University, and a BA in Writing and Editing from North Carolina State University. She has 20 years of college level teaching experience including courses in Painting, Art History, and Creativity. She also leads groups to Italy for landscape painting and Art History. Cauthen is currently and adjunct professor at the University of North Carolina-Charlotte, where she teaches Painting, Drawing, and Art History.
In an artist’s statement, Cauthen offers a testimonial to the influence of the Olive Stack Gallery residency upon her art. If follows:
There is not a single Olive Stack Artist who does not conclude their residency believing that the town of Listowel may be the most magical place on earth! The warmth of the residents, the beauty of the streets, surroundings and Olive herself serve as inspiration and balm for any creative spirit.
Artists reside in a cozy, beautifully appointed apartment situated above the gallery and in the center of the bustling town. One of the great joys of the month is to merely sit with a cup of tea overlooking the ‘small square,’ In this spot, dubbed “window theater,” you can watch as shops open and life bustles through the streets.
It has been my great fortune to be able to count many of those who bustle through as ‘good friends.’ The luxury of having a month-long stay is the opportunity of working daily to grow your artwork. As a plein air painter, every session of painting the streets of Listowel or the Cliffs of Ballybunion, builds on the previous session. Upon return to the studio (part of the apartment), I can place the artwork on the ledge and see progression and clear areas to work on during the next painting session. Also, with a month of work, I did not consider each work as precious, knowing I would be back that next day to have another ‘go’ at it. With this, I felt free to take risks and try new approaches.
Because of the residency, Ireland and Listowel have become a part of my own yearly rhythms. After three years of returning to Listowel, I must consider whether I teach, paint, tour, or simply ‘hang out’ with my -now-friends, is my only question. Whether I return or not is not even a question. This is what the Olive Stack Residency has meant to this little painter.
Pike was born in Iowa and moved to Boulder, Colo. at an early age. Boulder was home for 50 years until the Lake Norman area became her residence in late 2008. Pike graduated from the University of Northern Colorado in 1975 with a focus on graphic design and printmaking. She took her first painting class in 2002, learning the Henry Hensche tradition – The Art of Color Seeing – studying the effect that light has on color. This approach fuels Pike’s paintings and infuses them with saturated color and abstract shapes. She paints full-time at her Lake Norman studio and teaches several workshops a year throughout the United States and Ireland. She is a Signature Member of Plein Air Artists Colorado and of the Pastel Society of Colorado, and a member of the Piedmont Pastel Society in North Carolina.
The exhibitions continue through the end of November. The Caldwell Arts Council presents the arts in all its forms to the people of Caldwell County. Located at 601 College Avenue in Lenoir, the Caldwell Arts Council is open Tuesday-Friday from 9 a.m. to 5 p.m. and Saturday from 10 a.m. to 2 p.m. It is free and open to the public.
Many stories, but one theme – relationships are everything
LENOIR, N.C. – Recently, as I wrote, I had the opportunity to hear Billy Edd Wheeler of Swannanoa, N.C. tell one story after another, many which are straight out of his book, “Hotter Than a Pepper Sprout: A hillbilly’s poet’s journey from Appalachia to Yale to Writing hits for Elvis, Johnny Cash & more.”
The title’s a mouthful, but it’s appropriate, because so is every page; one sometimes wants to take a breath for Mr. Wheeler as he – with the wide-eyed excitement of a child – takes you on his journeys. An excellent story-teller – whether through songs, poetry, plays, books or simply sitting on a stage – Wheeler’s tales and songs have universal appeal. Some for their humor, some for their somber reality, and some because of Wheeler’s genuinely positive outlook on life. It seems he has been determined – whether consciously or not – to learn from every traumatic life event how to survive, even persevere.
From his simple beginnings in the deep hollows of Highcoal, W.Va., to his journeys through Nashville, New York and other places near and far and then settling in Swannanoa, Mr. Wheeler teaches an important lesson – a successful life is relationship-based. Every story Wheeler tells of his next step of success, is also the story of the person(s) that helped make that step possible.
Though clearly a motivated, talented and determined individual, Mr. Wheeler’s story is not one of self-reliance; rather, it is an account of the importance of learning from elders and working to establish and maintain lifelong relationships. There are dozens of stories of his friendships with famous people, perhaps most notably Chet Atkins and Janis Ian. There are far too many too name, but Mr. Wheeler’s view of the Nashville music scene – whether from a golf course or recording studio – provides fascinating insight into how the artist’s work must always be balanced with marketability anxieties. Because of raw talent and a congenial personality, Mr. Wheeler has aptly negotiated both worlds. Hence, his book reads like a textbook for the musician aspiring to write or perform at the highest levels.
It is also simply a narrative of a remarkable life. Mr. Wheeler’s artistic endeavors have often been interspersed with leadership positions with numerous organizations. His endless curiosity has ensured that he had multiple vocational experiences and opportunities. Those, in turn, informed the next steps in his life. In short, he has been a determined steward of his time and talents. He certainly values leisure, especially at 85, but throughout his life has never turned down a challenge.
Those interested in nearly century-old recollections of life in the coalfields of southern West Virginia will value Mr. Wheeler’s tales from his childhood, even the unpleasant ones. The challenge of bouncing from place to place during unstable periods in his childhood, and how he was determined to pave his own path through it all, is inspirational for readers of any age.
At the end, he thanks several people, including his wife Mary, “… for adding humor to the project by telling people I’m writing a book of fiction and calling it a memoir.” I suspect there is truth in both; that’s what makes for a great story-teller. Besides, one of the sweetest – and sometimes orneriest – thread through the book is the story of the lifelong love-affair between Billy Edd and Mary. They wouldn’t still be married after 55 years if either lacked a good sense of humor.
It’s worth a read to decide for yourself whether it’s fiction, a memoir, or something in between. You can get a copy at Black Mountain Books & Cases at 103 Cherry Street in Black Mountain, N.C.
© Michael M. Barrick, 2018.
Up close and personal with Appalachian legends
Note: This is the seventh installment from “The Hillbilly Highway, Volume 2: Seeds, Songs and Streams.” Learn more here.
By Michael M. Barrick
BLACK MOUNTAIN, N.C. – Considering the number of times that our family has seen Kathy Mattea in concert, it is a wonder that she does not have a restraining order against us. We behave, but we are enthusiastic. So, you can appreciate my delight at finding out that Ms. Mattea was going to be in Black Mountain this past Saturday at a legendary listening room, the White Horse Black Mountain.
My wife and I had a rare, impromptu opportunity to scoot out for a date, so I was snooping around on the web (it does have its value) and typed in her name. Up came up an event posting with this sign:
Immediately, I realized this wasn’t “simply” a Kathy Mattea concert; in addition, there was going to be Appalachian story-telling. As the marquee said in shorthand, Ms. Mattea was going to be there to converse with Billy Edd Wheeler. Mr. Wheeler, 85, had written songs that Ms. Mattea used on her album “Coal,” released in 2008. Three of the eleven songs were written by Mr. Wheeler – “Red Winged Blackbird,” “Coal Tattoo,” and “The Coming of the Roads.” The lyrics to Wheelers’ songs (and the others) can be found here. You can listen to Ms. Mattea’s version of “Coal Tattoo.”
Indeed, when that album was released, we saw Ms. Mattea in concert. That is one of the joys of her albums and concerts. They are often thematic, but she doesn’t forget what other songs her fans love. In any event, when I looked at the lineup, I knew we were in for a treat even better than a concert. We were going to hear from Appalachian artistic legends – if I could get tickets.
So, I called and was fortunate enough to score two of the last tickets. Sweet serendipity was in play now, so I was beginning to have a peaceful, anticipatory sense of what awaited us.
My instincts or whatever you care to call them were spot on. Douglas Orr, the president emeritus of Warren Wilson College, moderated a conversation with Mr. Wheeler about his new book, “Hotter Than a Pepper Sprout: A hillbilly poet’s journey from Appalachia to Yale writing hits for Elvis, Johnny Cash & more.”
Mr. Wheeler attended Warren Wilson on his winding path to Yale and a lifetime of writing hits for Appalachian legends. A member of the Nashville Songwriters Hall of Fame, Mr. Wheeler has written hits for Johnny Cash, Elvis Presley, Judy Collins, Neil Young, The Kingston Trio, Kenny Rogers and others.
He now lives in Swannanoa, N.C., but like Ms. Mattea, is a West Virginia native. So, the conversation meandered between the history and music of the Blue Ridge Mountains of North Carolina and the Allegheny Plateau that constitutes much of West Virginia. He and Ms. Mattea discussed with compassion and wisdom the complexity of singing about coal mining, alluding to the love/hate relationship that so many mountaineers have with coal. If you’d like more insight on that, read the “Coal” liner notes by Homer Hickam, another West Virginia native who grew up in coal country (Coalwood). He gained fame for his book, “Rocket Boys” about growing up in late 1950s West Virginia. It was made into the movie, “October Sky.”
It was a lovely diversion, much like slowly chugging down a gravel road is from the insanity of interstate driving. In other words, it was a great stop along the Hillbilly Highway. I suspect that if during your travels you happen to run into any of the folks we saw Saturday night, you will understand why I consider being called a hillbilly a compliment and a term of endearment.
Mr. Wheeler was understated – humble – in his responses, but he was also typically blunt, a trait not uncommon to West Virginians. Ms. Mattea, meanwhile also exemplified Mountaineer humility, demonstrating once again why we love her so. She is releasing her newest album, “Pretty Bird” on Sept. 7, though she’ll be previewing it on Mountain State at the closing of the Augusta Heritage Festival in Elkins, W.Va on Aug. 11. She never once mentioned either the album or concert.
It was clear that she cared about one thing – letting the 200-plus folks in attendance know just what Billy Edd Wheeler meant to her and all of Appalachia.
So, all ears were perked as Mr. Wheeler talked about his youth in High Coal (or Highcoal, depending upon who is spelling it). Though now abandoned, it is seen on the map in Boone County, near the junction with Raleigh and Kanawha counties – the heart of the deep, dark coalfields of southern West Virginia. It is near here that the West Virginia Mine Wars occurred a century ago and where Bill Blizzard, Mother Jones and thousands of others risked their lives to unionize the mines.
Between stories, Ms. Mattea and the band Whitewater Bluegrass would play one of Mr. Wheeler’s tunes after he had shared the history of it.
Essentially, it was what was once a typical summer evening in Appalachia. No air conditioning, lots of tall tales, toe-tapping music on the front porch and – at our house anyway – Pabst Blue Ribbon.
© Michael M. Barrick, 2018.
Note: I have no quotes from last Saturday, because I was there to enjoy time with my wife, listen to story-telling and music, and drink beer. At that, I succeeded. However, I’m not good at multi-tasking, so I couldn’t take notes. So, I will eventually write a review of Mr. Wheeler’s book – between PBRs. Or, if you prefer, you can get a copy at Black Mountain Books & Cases at 103 Cherry Street in Black Mountain.
Kay and Patrick Crouch have taught and inspired thousands of students and others in the region; they are also premier promoters of the music of Caldwell County and Southern Appalachia
By Michael M. Barrick
Note: This is the sixth installment from “The Hillbilly Highway, Volume 2: Seeds, Songs and Streams.” It is an abridged version of an article originally published in 2017. Learn more here.
LENOIR, N.C. – Before we ride the Hillbilly Highway out of Caldwell County for now, our first leg of our tour along the Hillbilly Highway would be incomplete without first acknowledging a couple that have worked tirelessly to preserve and pass along Appalachia’s musical heritage – from Blues to Bluegrass and everything in between.
Handmade & Heartfelt
When I interviewed Kay and Patrick Crouch in 2017, just a few of weeks before the 19th Annual Caldwell Traditional Musicians Showcase, they were relaxed – the kind of relaxed that is rooted in two decades of experience – as they discussed preparations for the concert during a visit to their home studio. (The 20th Annual Showcase was held in 2018, and the 21st is already scheduled for March 9, 2019).
Patrick explained the genesis of the theme for 2017, “Handmade & Heartfelt.” He said, “Some years I have the title in my brain and then get the musicians that fit. This year, however, I had this group of people who I love and admire as people and musicians that I’ve been wanting to get on the show. So, it will feature various styles of music – some is original, but all comes from the heart.”
Everybody truly loves music. It is the universal language … .” – Patrick Crouch
The 19th Showcase included eight groups or individuals, including Strictly Clean and Decent, which is Patrick and Kay’s collaboration with Ron Shuffler. The total of musicians performing was about two dozen, in addition to members of the Caldwell Junior Appalachian Musicians performing traditional string music.
Pointing out that 19 years of experience of preparing and hosting the showcase has made it easier for them, Patrick shared, “Now we have a tradition established. I already know what we’re going to do for the 20th.”
Patrick and Kay acknowledged that not every one of the more than 200 musicians that have appeared in the showcase as of this year are Caldwell County residents, but all have roots to the county. “It’s the traditional music that’s the connection,” offered Kay. She continued, “It’s good to connect with folks from outside Caldwell County. The real value is that these folks see what we’re so proud of.”
Patrick shared, “It is unfathomable to think that more than 200 musicians who live in or have ties to Caldwell County have performed. Our goal was 100. After 10 years, we had reached 128. When we started this, this was our stage that we wanted to share. It is incredible to think about how many musicians we have shared that stage with.” Smiling, and looking at Kay, he added, “It’s just the tip of the iceberg. We have such a community of musicians here. It’s going to just keep growing.”
He continued, “Music flows. It flows from the performer. It’s not something you think about. It’s what we do. The sign of an artist is playing whatever they want.”
That’s exactly what happens at the Showcase. Patrick sends out a schedule to the musicians, tells them how much time they have and how many songs they can play, but does not tell them what to play. He explained why. “Everybody truly loves music. It is the universal language. The audience knows that. The biggest challenge is for the musicians to limit their selections.” He continued, “I don’t give a lot of direction. Early on, we met a lot. Now it’s better to just let things be as they may.”
Besides the quality of musicians that play at the Showcase, Patrick says another reason for its success is how the community of musicians support it. “Those who don’t play in it still come out. Some come during sound check just to see folks they haven’t seen in a while. And, of course, we’ve enjoyed the support of the people of Caldwell County from the beginning.”
Sitting in a room surrounded by CDs, musical memorabilia, instruments and a recording studio, Patrick sat up in his chair and shared, “I stick my chest out when I say I’m from Caldwell County and am talking about our music.”
© Michael M. Barrick, 2017-2018.
Pickin’ and playing on the porch as old as this Western North Carolina county
Note: This is the first installment in “The Hillbilly Highway, Volume 2: Seeds, Songs and Streams.” I’m beginning as about to close as home as I can get – a neighbor of our daughter. Caldwell County is full of fascinating people and wondrous beauty, so many of our first installments will be from here, but I’m working my way up to at least the Mason-Dixon line over the next few weeks and months. Learn more here.
By Michel M. Barrick
LENOIR, N.C. – Since the first European pioneers explored the Yadkin Valley and settled Tucker’s Barn – our modern day Lenoir – music has been central to our heritage.
Above, my buddy Andrew Massey takes a few minutes to pick on his guitar on his back deck. Constantly writing, he played two new tunes. Pickin’ and singing on your porch is nothing new in Lenoir or anywhere in Caldwell County. It’s a way of life. Musicians thrive off of each other and the heritage is continued!
It’s always a joy to enjoy the creative offerings of Andrew and his many friends. Indeed, he is part of Sycamore Bones, a local band that plays regionally and played an electrifying set in the 19th Annual Caldwell Traditional Musicians Showcase.
One thing I concluded for certain from listening to Andrew offer his latest creations on an unseasonably warm and beautifully sunny February afternoon – the arts community truly is the shining light of Lenoir. Lenoir, in turn, continues to play a vital role in the preservation of traditional Appalachian music. It is a must stop along the Blue Ridge National Heritage Area. If interested, learn more here.
© Michael M. Barrick, 2018.
20th Caldwell Traditional Musicians Showcase a tribute to its roots
By Michael M. Barrick
LENOIR, N.C. – More than 20 years ago, at a Christmas party at the home of Kay and Patrick Crouch, a typically spontaneous jam session broke out – not unlike the ones that have occurred in homes and on porches in Caldwell County for generations. Present that night was David Briggs, who was then the executive director of the J. E. Broyhill Civic Center.
Recalling that moment recently, Patrick revealed, “He turned to me and said, ‘Patty, why do we not have this on stage?’”
That simple question led to the first annual Caldwell Traditional Musicians Showcase at the Civic Center. The show was titled “It Must Be Something in the Water,” a tip to the long, seemingly unending population of musicians living among the hills and hollows of Caldwell County. Now, the 20th Annual Caldwell County Traditional Musicians Showcase is scheduled for March 10, featuring a few of the musicians from that first Showcase and others since, several new performers, and Briggs making an appearance.
“The Showcase was David’s idea,” shared Patrick. “This is a tribute to the original show. This is a tribute to the longevity of the series. I’ll be delighted to have David on stage. Also, Donna Minton, who has helped so much from the beginning.”
Patrick and Kay are teamed up with Ron Shuffler as Strictly Clean and Decent; they will serve as the host band as they have each year since 1998. Also, Roger Hicks and Lyndy Johnson, who performed in the 2001 Showcase, will have a set. “Roger Hicks and Lyndy Johnson are finger-style guitarists who are listed in the Blue Ridge National Heritage Area roster of traditional musicians,” said Patrick.
Patrick also noted that the artwork from the original Showcase was designed by David Courtner, and also expressed deep gratitude to Jeff Bentley, the current executive director of the Civic Center. Bentley, Patrick pointed out, has been there for every show, having been promoted from sound technician to executive director since Briggs left. “We are on solid ground due to the fact that he works hard to promote the show.”
It (the Showcase) has created a greater awareness of music and the folk arts. Folks have embraced that. It’s not only an American music we embrace. It’s Southern music. It’s Southern Appalachian music.” – Patrick Crouch
Despite having familiar faces this year, Patrick said that the fresh faces are just as exciting to him. “It makes me step back and take a reflective look. We have 12 people who have never been in the Showcase. Over 20 years we’ve had more than 200 musicians, and that is just the tip of the iceberg. We have an unlimited supply of talent. That’s beautiful.”
Patrick sang high praises for Conrad Boudreau who is recognized in the Unifour area as a mandolin teacher of young musicians. “He has come into our community with such energy and enthusiasm that he is influencing and encouraging other musicians.” Joining Boudreau will be Minton, whose popularity is evident by the number of times she has performed in the Showcase – in 1998, 2001, and 2007.
A previous performer, Charlie Carpenter (2005) will be joined by first-timer Todd McCloud. “They are known for their unique and powerful duet vocals,” said Patrick.
A couple typically associated with Lenoir’s furniture industry, Alex and Anne Bernhardt will play Cajun music on their first showcase appearance.
Red Rocking Chair, consisting of Jack Lawrence, Tom Kuhn, and Dale Meyer, who have been playing together 12 years, play Bluegrass music, but other genres as well.
Sarah Seymour and Nick Seymour, both of whom performed in 2010 as part of Sweetbriar Jam, will appear as members of Rooted, an acoustic band that plays Americana and roots music in an acoustic setting. Band members with Rooted making their first showcase appearance are Jimmy Atkins, Drew Gray, Seath Gray, and Morgan Smith.
Audience members will be also treated to the excellence of the Caldwell Junior Appalachian Musicians and the wit of Nancy Posey, taking her third turn as emcee.
Patrick notes that the Showcase is an important contribution to the rich arts tradition of Caldwell County. “It has created a greater awareness of music and the folk arts,” he said. “Folks have embraced that. It’s not only an American music we embrace. It’s Southern music. It’s Southern Appalachian music.
“It makes us a special place.”
The Showcase will be presented on Saturday, March 10, at 7:30 pm at the J. E. Broyhill Civic Center. Tickets may be purchased in advance at the Civic Center or by calling the box office at 828-726-2401.
© Michael M. Barrick, 2018.
Longtime Caldwell resident that benefited from the Council as a student is named Executive Director
LENOIR, N.C. – The Caldwell Arts Council (CAC) is pleased to announce that Lindsay Barrick will become its sixth Executive Director, effective April 29. During her time as the CAC Social Media Manager, Barrick has overseen the creation and dissemination of content on various social networking platforms. She has been a long-time advocate and supporter of the CAC, other arts venues, and many individual artists, musicians, writers, and thespians.
She currently serves as Director of Programs and New Media for St. Luke’s United Methodist Church in Hickory as well as studio manager and printmaking instructor at the Hickory Museum of Art. A native of West Virginia, she spent most of her formative years in Caldwell County. Barrick is passionate about the arts and the people of Appalachia.
She said, “I am honored and thrilled to serve an organization I have loved since I was a young girl. It will be my great joy to continue the important work of Caldwell Arts Council: introducing school children to live theatre through our Artists in Schools program; preserving traditional Appalachian music through JAM; encouraging participation in poetry and acting through our annual competitions; supporting non-profits and individual artists in their vital efforts through grants; and presenting opportunities for artists and musicians to share in the thrill of exhibiting their craft.”
Barrick continued, “I also look forward to developing new ways to connect our community members and the arts. I have tremendous respect for former Executive Director Lee Carol Giduz and current Executive Director Adrienne Roellgen. I know much can be learned from their leadership.” She also praised the current staff, volunteers and board, adding, “Launi, Cathy, Bob, our dedicated volunteers, generous board members, and I already work so well together. I’m excited about the possibilities going forward.”
Barrick said, “Adrienne will continue to serve as Executive Director through April 28. We appreciate her enduring enthusiasm and love for Caldwell Arts Council. We wish her and her family the very best as they begin an exciting new chapter in Los Angeles.”
© The Lenoir Voice, 2017.
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Mess with the Muppets, and you mess with my family
By Michael M. Barrick
Donald Trump’s determination to build the military-industrial complex and a stupid wall (that just ain’t gonna happen folks!) is so important that he must kill off Big Bird. Public Broadcasting, which is the home of “Sesame Street,” Big Bird, Kermit and their many ethnically and racially diverse family and friends, is targeted for elimination from the federal budget.
So, I’m seriously peeved. You mess with the Muppets and you mess with my family.
And you don’t mess with my family ‘cause I’m from Wild, Wonderful, Almost Heaven, West-by-God-Virginia, and we are obligated to stand up for our children – and their friends.
Well, when our children were growing up, the Muppets were their only friends on television. There are a couple of reasons for that. First, we were poor; rumors of us having dozens of Chock full o’ Nuts cans buried in the back yard full of cash were simply unfounded. Our children discovered that to their disappointment only after they and their friends had spent a day digging up our yard to no avail, other than to aerate it for me. And, secondly, if we could have afforded cable, we wouldn’t have let them watch the crap on it anyway.
You see, the theory was that the airwaves belonged to the public. So, we could get a PBS station in rural, central West Virginia – and later, more urban North Carolina. Wherever we took our children to live or visit, we knew that this sound programming, full of nothing more than lovely parables about living with one another in harmony – and of course many great lessons in the humanities and sciences – was available.
Anyway, our children – now 34 and 32 – managed to get through their early childhood by watching only – and learning from – the Muppets and the many lessons they learned on Sesame Street.
We did not miss a Muppet movie. It was from watching “The Muppets Take Manhattan” that we learned from the wise owner of a restaurant that “Peoples is peoples.” That simply profound statement of tolerance, understanding and ultimately acceptance is a critical life lesson, and that phrase – in the context of the plot – could be understood by a child.
Unfortunately, it isn’t understood by Donald Trump. I believe he suffers from arrested development and probably has the outlook of an eight-year-old that never benefited from watching “Sesame Street.”
So, as I said earlier, I’m seriously peeved. Unfortunately, short of writing letters and holding up signs in protest, the best chance we had to prevent this has passed. And for that, we can thank the Democratic National Committee (DNC), and in particular Congresswoman Debbie Wasserman Shultz, who as DNC chair last year, did all she could to cheat Bernie Sanders out of the nomination. Since she was quite competent at her job, she and her compatriots among the Democratic Party’s shrinking (but wealthy) elite have ironically caused us to find ourselves at this point. For those thinking it’s unfair to pick on the DNC, I will simply note that it is that defensive, head-in-the-sand attitude that will ensure defeat in the next election cycle. By the way, I’m not a Democrat, so I’m not advocating; just stating the obvious.
So now, the Republicans are in control, doing exactly what they said they would do.
How, then, do we respond? We do our best. We let our voices be heard in Washington. We can support our local PBS and/or NPR stations.
As you consider that and other options, a brief story from about 30 years ago will illustrate the importance of the Muppets to our family – and, truly, to our nation.
We were at the mall. That itself was rare. There was a store there that had something I needed, but I don’t recall the details. But what happened with my wife, Sarah, and our children is quite memorable.
You see, Sarah has a rare ability to mimic perfectly the voices of the Muppets. They told bed-time stories at our home. They had “conversations” with the children through the stuffed versions we had at the house (I still have a small 6”-tall figurine of Kermit as a journalist – in trench coat, pen and pad).
In any event, while waiting on me, they were just inside the entrance to a department store where there was a large Muppet display. To occupy their time, Sarah started bringing the Muppets to life through her various voices. In time, an audience had gathered, enjoying the show as much as Lindsay and Allyn, who gazed at their “talking” Muppet friends, enraptured.
When the time to rendezvous came, Sarah told the children it was time to go. They protested. “We don’t want to go! We want to keep talking to Big Bird!” Sarah insisted. “No, we must go. It’s time to meet Daddy.”
Their response was classic. “We don’t want to meet Daddy. He’s a meanie!” I still wonder what the others watching this show thought. Nevertheless, I dispute that assertion and claim that they didn’t quite know how to express their objections appropriately. (Though they keep saying that).
I learned something very important that day. Do not get between Big Bird and my children. I had senselessly forgotten that the Muppets were part of our family. I learned my lesson that day though, and will always remember it.
So, Republicans, look out. Sesame Street might go through rough times for the next few years because of you. It might come to resemble Detroit even. In time, though, the family and friends of the Muppets will have the day. Why? Because we yearn for community far more than we desire war.
© Michael M. Barrick, 2017
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