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Atheists: The new majority? Maybe now everybody will get off my ass for being a heathen.
"Reynolds charts a "white trash" teenager's harrowing adventures in a wonderfully compelling, powerful, moving, and complex coming-of-age story. Jael helps her mother run a sleazy bar and pool room, all the while fearing the drunken sexual advances of customers who sometimes pass out on the front porch, only to resume drinking in the morning. Her nurturance by the goddess-Mother Earth-Madonna spirit informs the whole novel. She finds this nurturance when she takes comfort from the nearby woods; she finds it in the giant, uprooted oak that provides her shelter when she is seduced and abandoned on an uninhabited swamp island; and she finds it in comforting words from the Virgin Mother's statue in the church in which she discovers work and the power to find peace. Counterpointing Jael's self-redemption, however, is her self-mutilation when in confusion she ritualistically cuts her name into her thigh, gashes her own belly, and gnaws away the skin of her knuckles because it reminds her of penis skin."
-Whitney Scott
Bless you cousin Hailey. I'd drink to you honor, but some assholes from Lancaster finished off my last jar of "Jumpsteady". As for this here record, it’s another no-name guy on another no name label, though he does manage to beautifully capture, with the brush of the fiddle and some shaped-note singing, the essence of a criminalized American pastime. I like to think the 'likker' they are extolling the virtues of might just have come from cousin Haley's stoneware jug. And that, my friends, makes me extremely thirsty.
'Big Haley' weighed around 500 pounds, give or take an exaggerated 100 pounds. Though her girth, thought to be the result of elephantiasis, was renowned, tonnage wasn't the thing that immortalized her in the hills. It was moonshine. She and her sons made the finest in the region. In the late 1800s thirsty Kentuckians, Virginians and North Carolinians came by horseback and wagon to haul off loads of Big Haley's best. She made apple brandy from the Northern Spy and Limber Twig, two of the tastiest apples ever produced in the dimpled highlands of Hancock. From the corn came a creation of molecular superiority, a supple elixir, which she either sold by the dipper from a wooden keg or by the jug.There have been many fetching stories about Mahala Mullins, but there is one that surfaced recently that might be the best yarn of all. In the days of the Whisky Tree, near the ridge in Snake Hollow, if a person felt the need for some liquid stimulation, he would ride by the hollowed out beech tree, put in 50 cents and take out a jug. It was the whiskey honor system. Nobody would ever dream of taking more than what they paid for, or taking any of the money. If they had, they wouldn't have gotten to the end of Snake Hollow.'
Her reputation for fine spirits began to irritate local law enforcement authorities, and a number of federal agents. A new sheriff decided that he would make a quick name for himself and arrest Big Haley. He got a judge, who was familiar with and had sampled some of Big Haley's best to issue a warrant. The old judge smiled as he signed the official papers, handing them over to the new sheriff. 'Don't fail to bring her in,' he admonished the law officer. Armed with the warrant, the sheriff set out for Newman's Ridge. When he got to her log cabin, the sheriff went up to the door, knocked and went on in. He announced that he had a warrant for Big Haley's arrest and had come to take her in. At this point the sheriff discovered one intriguing fact; Big Haley was too big to get through the door. He measured her, measured the door and shook his head. When he returned to town he reported to the judge, 'She's catchable, but not fetchable.'
When she died, the problem arose about what to do about getting her body through the door. They sawed the legs off her bed, boxed it up, and it became her coffin. They opened a hole in the back wall of her chimney big enough to ease the coffin through the fireplace and then replaced the brickwork after the funeral."
"We therefore conclude that the right to keep and bear arms is “deeply rooted in this Nation’s history and tradition.” Colonial revolutionaries, the Founders, and a host of commentators and lawmakers living during the first one hundred years of the Republic all insisted on the fundamental nature of the right. It has long been regarded as the “true palladium of liberty.” Colonists relied on it to assert and to win their independence, and the victorious Union sought to prevent a recalcitrant South from abridging it less than a century later. The crucial role this deeply rooted right has played in our birth and history compels us to recognize that it is indeed fundamental, that it is necessary to the Anglo-American conception of ordered liberty that we have inherited."
"A number of recent federal proposals are not within the scope of the federal government’s constitutionally designated powers and impede the states’ right to govern themselves. HCR 50 affirms that Texas claims sovereignty under the 10th Amendment over all powers not otherwise granted to the federal government."
"Searching for "authenticity" in a music intended for broad commercial success may seem an odd undertaking, but Barker and Taylor are hardly the first to try. What was more authentic, the Sex Pistols or disco? Setting aside that so asking demonstrates a misunderstanding of what Malcolm McLaren and his hirees were up to, that simple question expresses the authors' MO. Similar queries animate the discussion and help make a framework within which to consider desegregation in the American South and other historical matters. Perhaps the quintessential chapter is "Heartbreak Hotel: The Art and Artifice of Elvis Presley." Few other pop stars have so thoroughly covered the gamut from the plausible authenticity of Presley's musical roots to the obvious, saccharine artifice of the King's movies. Other chapters ponder Neil Young (a rocker given to concerns about authenticity and legitimacy, sometimes too much so), Kurt Cobain, John Lennon, Moby, and Donna Summer. With plenty of interesting and contentious assertions to stimulate even casual readers, this is a heck of an argument starter."
“Possessed people, reaching a once-distant goal, almost close enough now to touch. Squirt gunfights in the dark, shrieks from the kitchen, Brookey-poo down the hall. Nights in hotels, endless bars, a year and a half getting tight; now the precious moments on stage, when all is right and their music is real and we all become sound an electricity for a too-soon ended instant. The road home is dark and lonely. Few make it.”
– Robert Rouse (From the liner Notes of 'Country Funk')
"Oftentimes when a new group comes out, people pay attention to the wrong things. A group's music is frequently ignored and too much importance is placed on irrelevancies. The color of Country Funk's collective eyes or if they dig pizza and ice cream really don't matter. What matters is that they are into music and music has brought them together.
In the spring of '68 the group, consisting of Hal Paris, Adam Taylor, Joe Pfeifer and Jeff Lockwood, headed for the West Coast to cut an album and take it from there. This was a reunion for Hal and Adam, because they had been together in a group back in the eighth grade and at different times later in their careers. After some rehearsing they auditioned at Kaleidoscope. Amps blew, tempers flew, there was trouble with the p.a. and the audition flopped. Some weeks later they did a stint of five weeks at Gazzari's on the Strip in the summer of '68.
Autumn came and the group broke up; Hal and Adam stayed in Hollywood, trying to get a new thing going. A formidable song-writing team, the nucleus of COUNTRY FUNK, was formed. They found James Lanham through an ad in Wallach's Music City and began rehearsing with Joe Pfeifer. A week before their first gig Joe split and Verne Johnson, whom they met through the Union, took over the drums. They came to Vermont in the winter of '68 to play the ski clubs. When they left, Verne had split and Joe was back. Then it was off to Amherst to play the Woodrose Ballroom. This started the group giving concerts and led to Cambridge for the summer of '69, where they soon became part of the Boston scene. Ray Paret of Amphion Productions put them on the road back to L.A. and the Record Plant to produce their debut album on Polydor. While it was being cut, Joe split again and Verne, who was floating, came back to the Funk, bringing all the original members together once more.
With the release of their first album, COUNTRY FUNK stood the way it started: with Adam Taylor playing lead guitar, Hal Paris on piano and rhythm guitar, Jim Lanham playing bass and steel guitar, and Verne Johnson playing drums and jews harp. They are together and from here, let their music speak for them."
- original press release, 1970