I have a modest guitar collection if you compare to some. Each instrument I have and play, though, is as unique as a child. Each has its own “voice,” and no two instruments are exactly alike, even if they are identical models. Each piece of wood sounds a little different from all the others. You learn this if you are a serious player.
Instruments have their oddities, too. Sometimes, tuning is not precisely right on every fret, or the “feel” of the instrument varies. Some applies to guitars, violins, banjos, mandolins, any instrument of wood and wire. This eccentricity, like that of human voices, is a source of delight, not frustration. The reason I generally hate a lot of electronically created music is the sameness of it.
Human voices are like that. I like gravely voices, deep voices, angelically soft voices, and raspy voices. Each voice expresses who that human being is, at least in part.
My very first guitar of my own was a Yamaha FG-230 Twelve String guitar. My parents got if for me for Christmas of 1971, I think. I had started playing music with two great friends who were musicians.
With Woody and Paul, Christmas 1971. Instead of new sweaters.
Both would go on to professional music careers, one still in it. My friend Woody had a Hoffner bass like Paul McCartney played in the early Beatles’ music, but that year got a Fender Jazz bass. Paul, who already played a Fender Telecaster like a pro by age 17, got a Yamaha six string the same Christmas. We both loved old country music and bluegrass. Paul introduced me to everything else in the world–he liked all kinds of things, from Grand Funk Railroad to Dillard and Clark to the Incredible String Band.
Last evening, we kicked off our series, “The Callings That Find Us,” with Dr. Danny Potts. An overflow crowd filled the room and was not disappointed as he shared his personal journey with brokenness and new life through his father’s long battle with Alzheimer’s disease. It was inspiring and so helpful to all who were there.
Next Wednesday we welcome folksinger Kate Campbell. Kate is a favorite singer-songwriter for many. She is a storyteller and singer with a unique voice that blends faith, justice and humanity in her writing and singing. Growing up in the south as the daughter of a Baptist preacher, Kate’s formative years were spent in the very core of the Civil Rights Movement of the 1960’s, and those years left a mark on her.
Her Two Nights in Texas CD received the prestigious Mississippi Institute of Arts & Letters Award. Ballet Memphis featured several tunes from her song catalog as well as a live performance by Kate and band at a ballet entitled South Of Everywhere. Three of Kate’s songs (“Ave Maria Grotto,” “William’s Vision,” and “Fordlandia”) were recently featured in documentary films. A variety of artists have recorded Campbell’s songs including Laurie Lewis, Missy Raines, Ronnie McDowell, and the Nashville Bluegrass Band who covered her compelling snake-handling song “Signs Following.”
Campbell has played the prestigious Cambridge Folk Festival (England), Merlefest, Philadelphia Folk Festival, and Port Fairy Folk Festival (Australia), been featured on National Public Radio’s Morning Edition, All Things Considered, Live From Mountain Stage, and had her story (and haunting song “When Panthers Roamed In Arkansas”) included in the debut issue of The Oxford American’s ultra-hip Southern Music series. Kate’s latest release Damn Sure Blue, a heart-felt collection of tunes that pays a respectful nod of admiration to the Man in Black and reverberates with the soulful sounds of award-winning Americana guitar whiz and producer Will Kimbrough.
Kate lives in Nashville with her husband, Ira, a minister a
Fifty years ago this week, Martin Luther King’s life was frozen in time for the whole world. His words keep living, his story keeps being told, and the events of his life are examined again and again. It is not that time any more. The pain is more diffuse, spread into new struggles for equality and justice.
It is worth marking the remarkable changes that have happened in that fifty years. We can go to any restaurant and drink from the same fountains. A lot of things are better, much better. But the pain he saw is still in the world–the pain of something not finished, a hope not yet realized, a brokenness needing mending.
The deepest wounds heal from the inside out, and only with the greatest of care. There will be setbacks and infections and discouragements, but there is still much reason to hope and keep trying.
I once attended the Unity Breakfast on Martin Luther King day here in Birmingham and heard Diane McWhorter, whose book Carry Me Home recounts the impact of those momentous days of the Civil Rights struggle on the world. Whenever someone “remembers” how something was, it invites us to remember it from where we were at the time. I remember the civil rights era in the South, but it was not from the vantage point of an adult in the middle of Big Issues, but as a child growing up in the South.
I remember going on a hot Sunday afternoon with my father to the home of an employee. She happened to be African American. Her family member had been killed in a train accident, and my father believed that the proper and respectful thing to do was to go by to see the family.
I remember waiting in the car while he went in, a little boy watching out the window to see people who also lived in Clarksville, Tennessee, but a very different Clarksville than the one in which I lived. I had never noticed that their children didn’t go to school where I did, or that we never ate in the same restaurants, or that we barely came across one another. This separation made my trip all the more startling. It was as though I had stumbled onto a hidden cave where an entire civilization hitherto unknown to me had taken residence.
I watched people come and go, just like in my community, bringing food, dabbing their eyes, dressed in their finest. Men tugging at their collars in the hot summer air opened the door for their wives in hats to go in with the bowl or dish. It was impressive, this little world to which I did not belong. People laughing, people smiling, people crying, just like us. But not with us.
I took in the strangeness, but something stirred even deeper in me. I saw my father speaking to them, as he did to everyone, with respect and courtesy and manners. I hear people telling tales from the sixties about marching and protesting. I have no tales like those. I was young and oblivious to the invisible walls of separation. But I do remember my father treating everyone the same, kindly, decently. His employees seemed to think they all counted the same with him. He never lost his temper that I knew of, or swore or cursed at people. Just treated them alike.
My examples were different from those dramatic and provocative ones. My family mostly watched the struggle on nightly television with the rest of the world. We worried, shook our heads, weren’t too sure how it would go. We were not allowed, though, to use epithets and inflammatory words about other races.
It takes struggle and often conflict for change to begin. But there is also the task of taking change in and absorbing it, making it livable and practical and something that can happen every day without incident. It is one thing to change laws. It is another to elicit the consent of people to those laws. And quite another to live out their spirit every day. It means using words carefully, for the purpose of telling truth, not perpetuating our own version of it.
The whole world was changing before my eyes, in ways I did not understand and would not understand, but the example of my father’s kindness did sink deep in me. And I wonder about the eight year old boys and girls among us. What are they seeing? How are we doing? Is there something impressive enough in the way we are living life to sink deep in their souls and stay with them until they are adults?
In something as simple and apparently random as going by someone’s house to pay respects, in doing what is decent and right and good, you may be causing a quiet revolution in someone who is watching not only what you do, but how you do it. Someone is watching, always. So write the script you want remembered. It will live on after you for a long time, for good or for evil. I was one of those little white children that Martin Luther King dreamed about.
So I am going to do every little thing I can to not be afraid, to make friends, to pay my respects, and teach my children and grandchildren that there’s room for everyone at God’s table. Everyone.
I remember those times with a song I did on my first CD, “Lorraine.” It was inspired by my first visit to the Civil Rights Institute in Memphis, which ends at the balcony where Dr. King was murdered by fear and hate. But I like to remember what outlives fear and hate: hope and kindness and the hope of a better day.
If you don’t know who Ricky Skaggs is, then you really don’t know anything about bluegrass and old-time music. It’s important to distinguish those two terms. “Bluegrass” technically didn’t exist before the 1940s. It was literally invented as a form by Bill Monroe, recasting the traditional old time music of his Kentucky and Appalachian roots with a new sound built around his unique mandolin playing. The mandolin took a new role as a centerpiece performing lead instrument in
Ricky Skaggs and Bill Monroe
Monroe’s vision. He was truly a unique American music phenomenon.
Monroe inspired an entire generation of musicians and his influence lives on in all the varieties of bluegrass, newgrass, swing, jazz and a hundred other variations of playing involving the mandolin, but no one has embodied that variety more than a kid from Kentucky named Ricky Skaggs. His father started him out with a mandolin around age 6 and before he was out of his teens, he played on stage with Monroe himself, with childhood buddy Keith Whitley, Flatt and Scruggs and toured with the Stanley Brothers.
Bluegrass and its predecessor, the “old time” music, that was originally the dance music and music played in homes and small communities of the South that had traipsed across the Atlantic from the border regions of Scotland through Ulster and Ireland as immigrants to the New World, settling in the mountains of the South. They brought with them the instruments of their folk music, and it underlay their common life for generations. Like all immigrants, their music was a powerful identity that helped buffer them against the hardships of fitting into a new and strange country that did not always want them.
Like all people, the love for their children motivated their work, way of life, and the sharing of their music. Today, like few other music forms, you will see men in their eighties at a bluegrass festival sitting in a circle jamming with teenagers strumming guitars and 6 year old fiddle and mandolin players. Ricky Skaggs was one of those children.
It gives hope to look at our children and imagine what they might do. They are not jaded yet by our own deep prejudices and ignorant opinions
about “how it is.” So today, I share this video I came across of little RIcky Skaggs, age seven, playing on television with Lester Flatt and Earl Scruggs. Teach your children well. And maybe their elder’s failures will give way to something wonderful, unexpected and new.
Doesn’t conflict at this moment in Lent to me at all, when we are wringing hands, troubled in mind, struggling with hope and anxious to the gills, to pick up my mandolin at home, play a tune, and feel something lift out of the room. Wherever that sound came from (and as a man of faith, I think I know), it says, “There’s still something unexpectedly beautiful up ahead. Go on, and don’t give up.” If you don’t know any seven year olds, I suggest you enlarge your life and bit, get out of yourself, and look for hope in the strings and paintings and delightful voices of the young.
We must face our losses. Courage does not spare us from them.
Courage’s work begins at the other end of honest acknowledgement.
Grief can encompass many parts of life, not merely death. It is, in many ways, our most universal experience. It can be the death of dreams, grief of a way of life that ends, the end of a relationship, leaving home, moving to another town, divorce, a broken friendship. The question is, “What are we to do with it?”
I can’t speak for people who have no faith in God, but I will admit that having faith in God doesn’t dispose of grief. It is just the same, just as overwhelming, the same disbelief followed by disintegration and despair and a long struggle to put life together again.
One verse of scripture I have found meaningful is this one:
But we do not want you to be uninformed, brothers and sisters, about those who have died, so that you may not grieve as others do who have no hope. 1 Thess. 4:13
I take great comfort that it does not say, “Don’t grieve, you’re a Christian,” but I have heard many a well-meaning minister stand up and talk about death like it was a flu shot. Death is real, it is irreversible, it is disheartening. I don’t think dismissing reality is a good idea. It has a way of showing up again with reinforcements.
The denial of death is, as Ernest Becker said, the most pervasive of human failings, and the most futile. The Apostle Paul said, very intentionally, that we should not “grieve as those who have no hope.” Instead, I would assume, we should grieve as people who DO have hope. Continue reading “Death Grief and Hope: Songs for the Shadows”→
For many years, a member of my church who knows my weird tastes in music (if most people have never heard about it, I might have; if mass media doesn’t write about, I will) gives me the annual Oxford American Southern Music Issue. Given my roots and rootlessness around and on the edges of this bizarre and wonderful region (politics=absolutely bizarre; unelected people generally fascinating and gracious; land, music and layer of cultue—wonderful), he knows it lines up with my interests.
The OA is a journal with as colorful and eccentric history to match the region it writes about, but plenty has been written about it elsewhere. Just a few lines to mention the music issue, which isn’t cheap ($12.95) but well worth it. Every year, a particular state’s rich heritage of famous and not-so-well-known songwriters and performers are showcased. Continue reading “Everything’s Bigger in Texas: the Oxford American 2014 Music Issue”→
“…there is a playful randomness about what we find and read. Or rather, what finds us”
When I first rekindled my interest in songwriting and music again, sixteen or seventeen years ago, I began hanging out in music stores, playing the guitar again and digging out songs from my memory and on faded notebook paper from years ago. One day, a worker in the store I frequent most, Fretted Instruments of Birminghm, said, “Are you just starting to explore the discography?” I had just said that “I was getting into bluegrass music” and that was his reply.
I began to delve into just that—listening, going to shows, scooting to Nashville now and then. I bought a collection of Bill Monroe’s music. Over the coming years, I heard a lot of music live—Bruce Hornsby, Ricky Skaggs, Nickel Creek, J. D. Crowe, Earl Scruggs, Vince Gill, as well as a lot of lesser-known but excellent players and singers coming through the Station Inn in Nashville or here in Birmingham, Continue reading “Exploring the Discography of Life”→
epithets and inflammatory words about other races.
