To Kill A Mockingbird…50 years later

Here in Alabama, To Kill a Mockingbird is one of our great treasures.  You can still go to Monroeville, Alabama and see a live re-enactment of the story every year by the local citizenry.  You start out in the yard, then move inside the courthouse, and it is eerily reminiscent of the movie because Hollywood built a replica of it for the film.  When I went with friends a few years back, I felt a flash of shame and pain when the n-word was uttered while African American locals up in the balcony were in our presence.  I was embarrassed.  So we’ve made some progress, I guess.  As a child in North Carolina the word was uttered around me thoughtlessly, as a part of an unquestioned culture of resentment and vulnerable entitlement. Continue reading “To Kill A Mockingbird…50 years later”

Farewell, Earl Scruggs, and Thank You

1964, on top of the world, with Lester Flatt

Earl Scruggs, “pioneer” as the Huffington Post put it,  of the Three-finger Banjo style, has died.  For some of us, he has been a mentor and inspiration our whole lives.   He was not merely a pioneer, he was the King.  And there are many legends on the banjo–Bela Fleck, Ralph Stanley, Jens Kruger, Don Reno, J. D. Crowe, and many greats.  But no one like Earl.

As a displaced North Carolina boy moving around the country, my Dad kept me connected to music.  He had a Silvertone electric guitar from Sears and a Harmony archtop acoustic guitar.  The electric would shock you if you played in bare feet on the garage floor so I tended to play the acoustic.  I didn’t know much about Earl Scruggs, but I kept running into him over the years.

When we moved to Irving, Texas in the late Sixties, I learned to play very slow rhythm guitar to a very slow “Foggy Mountain Breakdown” and “The Ballad of Jed Clampett” (LISTEN) with my seventh grade friend,  Brad Phillips, who was the odd combination of a banjo playing Episcopalian. Continue reading “Farewell, Earl Scruggs, and Thank You”

Finding Your Voice

Gary Furr

It’s become a cliche only because it is so powerful and pervasive.  Your “voice,” I once heard songwriter Pat Terry say, is what makes people say, “That’s a Gary Furr song” or “that’s a (your name here) story.’  I have thought about this for thirty years, focused when I once, during a five day solitary retreat started to say a short prayer I had been using to center myself and blurted out, “Father, help me to be myself.

If that sounds so very self-centered in our culture already so “you-can-be-whatever-you-want-to-be,” permit me to observe that despite our coaching of selves and self-focus I sure meet a lot of broken ones out there in life.  People wounded and held back by a voice in their head:  “you’ll never amount to anything,” and somettimes not even traumatic voices–just ones we imbibe from our world.  “So many people are better than you.  What do you have to offer?  What’s the point?” Continue reading “Finding Your Voice”

Whitney Houston and the Biggest Devil

Whitney Houston made your heart soar with that magnificent voice.  You kept hoping for her—so lovely, so achingly vulnerable, so fragile.  “Come on back, girl,” you hoped.   In the end, she didn’t.  There will be moralizing—drugs, bad choices, all the rest.  But such times are wrong for moral lessons.  There is a time to criticize, and a time to refrain from criticizing.  A time to learn a lesson, and a time to let the dead alone and mourn. The story of Whitney Houston makes me think how hard it is to care for one’s own soul when there are so … Continue reading Whitney Houston and the Biggest Devil

“Death Gospel,” Art and Life

The website “Sightings” put out an interesting piece this week.  Thanks to my good friend and blog reader Lamon Brown for forwarding this to me.  It is a piece on the music of Adam Arcuragi.  I was unfamiliar with Arcuragi, but immediately was drawn to go read the piece and the NPR interview of Arcuragi.  His album Like a Fire that Consumes All Before It, writes M. Cooper Harriss …has raised interest in the popular-musical category of “Death Gospel,” a metaphysically attuned variety of the Americana genre named by Arcuragi. Death Gospel is not sonically related to “Death Metal” (a … Continue reading “Death Gospel,” Art and Life