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Stories about Modern Appalachian Life

HISTORY+CULTURE
I rarely need a forty foot ladder, but this weekend, my sewer drain sprung a leak. This giant pipe runs clear to the roof where it syphons rainwater, though the plumber could have said it led to a magical rooftop pond where nymphs frolic. I wouldn't have argued. I've never been up there, and until Friday had zero desire to go. That's when I learned my options—check the roof for problems or start opening walls to find the leak, possibly destroying historic tile.
A good ladder, it turns out, runs around $350. That's steep for something I've needed once since I moved here eighteen months ago, and I did just notice a contractor's fully-loaded truck parked down the street. All's fair in love and home repair, right?
If only I lived in Asheville. I might not be considering larceny just to reach my roof. The Asheville Tool Library will open on April 9, and it's going to make it easy to borrow just about any tool you can imagine, everything from ladders to palm sanders.
We’ve been hard at work organizing and cataloging our tools," says project coordinator Kara Sweeney, who told me that people from every walk of life have shown interest in the library. "From urban folks living in small spaces, homesteaders, artists, DIY enthusiasts, and everyone in between." 
Membership costs between $50 and $150 with a sliding scale based on income, plus scholarships are available. Once a member, you can borrow tools for as many as seven days, and let's be honest. How often do any of us need an angle grinder for more than a week?
The idea is to put tools to work rather than let them collect dust, which is novel but not unique to Asheville. At least 70 other North American communities have tool libraries. They are innovative extensions of the sharing economy, which has exploded in recent years, making it possible to share a car through Uber or a house through AirBnB. I've even read about city libraries lending sewing machines.So why not tools?
Would you borrow a socket set rather than buy one? And do you have any interest in starting a tool library in your area?
If so, the good folks at ShareStarter offer a map of existing libraries along with turnkey resources for starting a new one. And should you start one anywhere near Alexandria, Virginia, let me know. I might need to unload a ladder soon.
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HISTORY+CULTURE
J. Paul Gorman, one of Appalachia’s newest coders. Photo by Philip Scott Andrews.

Coal is dead. There, I said it. It's a tough pill for Appalachia to swallow—where coal has underpinned local economies for more than a century, where it's given folks who hold nothing but high school diplomas a path to the middle class—but those days are going, going, gone.

Local leaders, though, didn't get the memo. Maybe they're holding out for some imaginary coal revival. Maybe they don't have the skills to attract new industries or foster entrepreneurship. Maybe they're just scared. Why doesn't matter much. Their inaction leaves many thousands of mining families in dire straights.
We've all heard about former miners working for a fraction of their prior pay, selling their trucks, cars, or even homes to put food on the table. We've read about soaring public assistance rates due, in part, to laid off miners dragging themselves to social service offices, hats in hands, having to ask for help. It's like there's a big gash right across the heart of Appalachia, and no one is even applying direct pressure.

Sure, a bill is weaving through Congress that could infuse $1 billion into coal country, but the Tea Party has a stranglehold on Washington. Sticking to their promise to downsize government, these extremists kill anything that resembles new spending, even if it might help the people who elected them. These days, it's easier for a camel to pass through the eye of a needle than for a social program to pass on the hill, and some folks are just tired of waiting.

In eastern Kentucky, former miners are taking economic recovery into their own hands. They've started BitSource, a training ground for would-be coders and a consultancy that hopes to land clients from around the world.

Writer Lauren Smiley recently visited this crew and in the below article, captures the kind of determination and ingenuity it'll take to turn mining communities around. But is it enough? Can a tech start-up make it big in a Kentucky coal town? And how else can we help our Appalachian neighbors get back on their feet?

If you have coal stories or ideas for improving life in coal country, please leave a comment below.

***

Rusty Justice doesn’t think about Michael Bloomberg very often. But when he does — even if it’s just for a moment — it’s like remembering the gloating rich kid who stole his lunch.

The distaste started when the New York City billionaire donated $50 million to the Sierra Club’s Beyond Coal campaign back in 2011, and continued when he poured in another $30 million this year. Rusty, you see, runs a land-moving company in Eastern Kentucky, and the anti-coal movement is playing a big role in systematically closing down the industry he’s worked around all his life.

Say what you will about the long-term environmental effects (Justice, for one, is very pro-coal) but the impact on the area’s one-source economy has been brutal. Some 8,000 miners have been laid off in the last four years — that’s more people than the entire population of Justice’s hometown, Pikeville. On the road to a cleaner energy future, the surrounding neck of Appalachia is looking like roadkill.

But Rusty’s unease with Bloomberg turned into a gut-deep animus last year, when the self-confessed hillbilly—if you’re from this part of the world that’s a self-identifier, not an insult—sat down for his weekly, three-hour, Saturday morning news-reading session. That’s when he came across Bloomberg’s latest jab.

“You’re not going to teach a coal miner to code.”

CLICK TO READ MORE

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HISTORY+CULTURE

I'm such a slacker. On Wednesday night, The Mine Wars premiered on the PBS series American Experience, and I have to admit I missed it. (If it's any comfort, PBS, I was binge watching Downton Abbeyat the time!) Luckily, this groundbreaking mini-series is streaming on PBS.org, and it's an event we all should see.

In the earliest days of the 20th century, our region was being transformed. Newly established coal companies, almost always owned by outside interests, offered steady work in our mountains, an area that, until then, had relied mostly on subsistence farming. But regular pay came at a price.

“In our town we have many good things, good churches and schools,” one miner summarized, “but there is another thing of much more importance that the coal operators have intentionally overlooked — our freedom.”

While coal companies provided housing for miners and their families, they also turned Appalachian natives into the capitalist equivalent of serfs. Following a feudal model, they created coal towns with no elected officials, no democratic process or even local police forces. Instead, companies hired private guards armed with rifles and machine guns to police the towns, a practice miners detested. Thy even paid in their own currency, called scrip, which could only be used at company-owned stores.

As awareness of this exploitation grew, union leaders focused their attention on coal country, and miners faced a difficult choice—live in steady subjugation or fight for their rights.

Over the next several decades, violence erupted, a war that has been all but forgotten. Schools have rarely taught about it. No books or films on the topic have seen wide distribution. Appalachia's mine wars have barely been a blip in the telling of U.S. history...at least, until this week.

American Experience is the nation's most-watched history series, one that reaches millions of viewers and even influences classroom conversations through popular teacher guides. By airing The Mine Wars, the show is moving this bloody Appalachian story from the fringe to the mainstream, taking us a big step closer to rewriting history.

Do you feel like this is a story worth telling? Is coal part of your family story? And if you've seen the show, what did you think?

Please leave a comment below.

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HISTORY+CULTURE
By the time Tennessee Ernie Ford released the tune "16 Tons" in 1955, he was already successful. He'd recorded a few hits, hosted an NBC quiz series, appeared in a reoccurring role on I Love Lucy, and made the rounds on country variety TV shows. A twang-laced crooner with a silky baritone, Ernie was arguably Hollywood's most popular hillbilly.
Still, he did something new with this song. He took a sleeper—a folk tune written and released years earlier—and gave it the Tennessee Ernie treatment. Backing "16 Tons" with a full orchestra and singing it in a style that sounded more like Dean Martin than Hank Williams, he created one of the nation's first crossover successes.
Ernie's rendition of "16 Tons" spent ten weeks in the number one spot on country charts and topped pop charts for eight weeks. Mind you, this was years before Patsy Cline and Dolly Parton would obliterate the line between country and pop, and crossover king Elvis Presley hadn't even had a hit yet.
This recording broke new ground and turbo-charged life for the Bristol, Tennessee native, helping Ernie secure his own primetime television show and paving the way for a bevy of awards, including a Grammy, The Presidential Medal of Freedom, and induction into the Country Music Hall of Fame.
https://www.youtube.com/watch?v=MTCen9-RELM
Inspired by Ernie's success, the Birthplace of Country Music Museum is hosting the "16 Tons" Music Contest with performers submitting their own covers of this ode to Appalachian coal miners. They're invited to either faithfully recreate the song or dramatically reimagine it.
"What would '16 Tons' be like as a flamenco tune?" asks Charlene Tipton Baker, the museum's publicist. "A free jazz chart? A bubblegum pop song?"
Creativity is not just encouraged; it could be the winning factor. Judging will be based on musical originality in addition to the quality of performances, and while prizes don't literally weigh 16 tons, they are pretty amazing:
  • The musician who takes the top spot will be invited to perform “16 Tons” during the exhibit’s closing concert on February 13, 2016 at Bristol's Paramount Center for the Arts.
  • First-, second-, and third-place winners will receive a copy of the book River of No Return: Tennessee Ernie Ford and the Woman He Loved along with a museum mug.
  • First- and second- place winners also land either five free passes to the Birthplace of Country Music Museum or a one-year individual membership.
All entries are due by December 4, 2015. If you submit, please also share your link in a comment below, and even if you don't record the song yourself, in what style would you like to see someone perform "16 Tons"?
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HISTORY+CULTURE

James Napier wears a lot of hats. Monday through Friday, he's a sociology professor at Mountwest Community & Technical College, where he helps students look beyond their own experiences and see larger social patterns. Seven days a week, he's an Appalachian native, one who is both proud of his roots and sometimes at odds with them. That's because James is also gay, and in some circles, that difference alone can be brutal.

But James' last hat is the one that really makes him stand out. In this case, the hat is actually a blond, teased out wig. When he wears it with shimmering women's clothes and fake lashes, James is transformed into another person entirely—the drag persona of Ilene Over.

Now, Ilene is a character, and by that I mean, two things. First, she's bawdy, funny, and whip smart, marrying James' sharp intellect with her own hilarious take on Appalachian life. Second, I mean that Ilene is an act, a performance. As James explains below, people cross gender lines for many reasons. For him, it's a chance to experience some glitz, some glamour, and like Flip Wilson, RuPaul, or Tyler Perry, to get people laughing.

That's exactly what Ilene hopes to do on October 22, when she performs Rainbow in the Mountains: Confessions of an Appalachian Drag Queen. The show starts at 7 PM in Virginia Tech's Shanks Hall, rooms 370/380. With a mix of storytelling, stand up, and lecture, it promises to be a one-of-a-kind show.

*

TR: Let’s start by talking about our mountains. You refer to yourself as an Appalachian drag queen. How is that different from, say, a Californian drag queen or a New England drag queen?

I believe what sets all Appalachians apart are the values we hold that are unique to us. Loyal Jones discusses these in his book Appalachian Values—individualism, self-reliance, pride, religion, neighborliness and hospitality, familism, personalism, and love of place. To be queer in Appalachia, I believe, puts us at odds with some of these values. For example, we have a love of place but may want to go somewhere we can live fully and openly as a queer person.

TR: It's interesting you mention moving. I think you saw my recent Facebook post pointing out that big cities aren’t always safe havens for GLBT people. According to 2013 FBI records, a GLBT person was 46X more likely to experience a hate crime in DC than neighboring Virginia, where I was raised. How have you been treated in West Virginia as a drag queen and a gay man?

JN: I don’t think the stats tell the complete truth. I believe a lot of incidents are not reported or misreported. There is resistance amongst rural law enforcement in reporting queer related issues. There seems to still be this taboo about even talking about queer stuff. There is also the fear factor for victims.

I also believe rural queers have this romanticized notion of queer life in the big city. Some of it is reasonable I think—support groups, activities, safety in numbers. But you are correct in pointing out acts of hate occur even in these gay meccas. They are not perfect places.

TR: And back to drag. It is its own category, distinct from transsexuals, right?

JN: Yes. There are various categories of crossing gender lines. One can never totally generalize to a group, but in general transvestites wear the clothing of the opposite gender for sexual gratification, Transsexuals seek to live and function as the opposite gender. Drag Queens generally enjoy the sparkle, the shine, the theater, the attention, but do not want to live as a woman nor is it a sexual fetish. Drag has been around for hundreds of years—the court jester challenging culture and society, pushing boundaries.

TR: For anyone who’s never felt the urge to dawn the opposite gender’s clothes, I imagine the big question is why? What inspires James to get on stage as Ilene Over?

JN: I saw my first drag show and was totally enamored with the flash, the sparkly clothing, the larger than life presence. I immediately thought, “Hell I can do that and probably better!” What kept me doing it—aside from good tips—was the responses from the audience. I loved seeing people’s faces, the smiles, hearing the clapping and cheering, and most of all hearing the laughter!

TR: How was all this for you growing up in a West Virginia holler?

JN: Growing up gay was hard as Hell. I constantly listened to my family and others talk about the “queers” in whispers and sometimes blatantly say hateful things. I knew I was different from a very young age, and I learned to hide a huge part of myself. To this day, no one in my family really knows me. I was bullied and made fun of for being different, and, of course, once word got out that when we played superheroes, I played the part of Wonder Woman, my life was hell. There were no TV shows with role models. There were no support groups. I was by myself and lonesome and frightened. It induced a lot of self-loathing that I still struggle with to this day.

TR: I get that. While I've been treated really well as a gay man in Appalachia, life as a teen in the 80's and early 90's was hard. My family was supportive, but some school kids were just brutal. Thankfully, attitudes are changing, and you're helping make that happen. One way is by being a sociologist drag queen—not many of those out there! How does your academic discipline inform your act?

JN: No, there aren’t many of us out there. Being a sociologist informs everything in my life, including my drag and performance. I can’t help but watch and analyze. I believe it provides another angle for me to evaluate my experiences as a person, as a queer Appalachian, and as an Appalachian drag queen.

TR: And it certainly makes for a rich show, adding brain power to the mix. Break a leg next Thursday, and if you can, check back in and let us know how it goes! 

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HISTORY+CULTURE

Who knew the secret to eternal youth was in Georgia all this time?


According to one legend, the Cherokee did. Today's guest blogger Dave Tabler shares their fantastic story, complete with a witch, one long-lasting curse, and a dead Cherokee princess.


If you're thinking, "The Cherokee didn't have royal lineage," you're right. While this tall tale is short on historic accuracy, it still illustrates the kinds of legends woven in Appalachia, a mash-up of Native and European lore that, even today, makes for a fun read.


The one thing it's missing is a map to the story's age-defying spring. If you know the location, please take pity on my forehead wrinkles and leave a comment below.


*


Ten miles north of Dahlonega, Georgia, at the intersection of US 19 and State Road 60, is a stone pile in a triangle where the roads cross, known as the Stone Pile Gap. “This pile of stones marks the grave of a Cherokee princess, Trahlyta,” reads the Georgia Historical Commission marker standing guard.


“According to legend her tribe, living on Cedar Mountain north of here, knew the secret of the magic springs of eternal youth from the Witch of Cedar Mountain. Trahlyta, kidnapped by a rejected suitor, Wahsega, was taken far away and lost her beauty. As she was dying, Wahsega promised to bury her near her home and the magic springs. Custom arose among the Indians and later the Whites to drop stones, one for each passerby, on her grave for good fortune. The magic springs, now known as Porter Springs, lie 3/4 miles northeast of here.”


Twice the Georgia Department of Highways has attempted to move the grave during road construction. Both times at least one person died in an accident while moving the pile. Legend says that removing a stone from the pile will bring the curse of the Witch of Cedar Mountain upon the thief. The stone grave remains today in the same place it has always been.


The springs in question were (again!) discovered in 1868 by Joseph H. McKee, a Methodist preacher, on land then belonging to Basil S. Porter. McKee and William Tate, a Baptist preacher, tested the water (in their fashion) for minerals and advertised their findings. People came from miles around pitching tents or taking home gallons of water, and claimed cures of rheumatism, dyspepsia, dropsy and many other diseases, even leprosy.

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HISTORY+CULTURE

Appalachia is a little different. It's true for our culture, our food, even our accents. So why shouldn't it be true for immigration?
Much of the country experienced waves of inward migration in the 20th century. Irish and Italians flocked to the Northeast, along with Jews escaping persecution in Eastern Europe. Swedes, Norwegians, and Germans shaped the character of the Midwest. But for more than a hundred years, Appalachia didn't see a major influx. In fact, people left the region by the millions, moving to big industrial cities in search of jobs.
Megan King says that all changed a decade or two ago. A photographer who also studied Spanish at East Tennessee State University, she noticed more and more Hispanics in her community. That's because Tennessee saw this population jump by 134 percent between 2000 and 2010, making it the third highest growth rate for Hispanics in the nation.
What's that kind of boom look like? How do Latino and Appalachian cultures marry up?
Megan decided to find out. For years, she has photographed her Hispanic neighbors and while doing so, has tried to forget all the rhetoric surrounding this group—anger over jobs they work, controversy around how they got to the U.S. Megan simply wants to show Hispanic-Appalachian life, day to day.
That simple goal has resulted in an illuminating collection of photos, a window into a mountain community most of us don't see. Megan took time this week to discuss these images and her story.
14_04_22_06

TR: Thanks for taking time to talk. We've all, of course, noticed growing Hispanic communities in the Appalachians. What took you from general awareness to this photo project?

MK: Studying Spanish and art at the same time certainly helped my shift in awareness. For Spanish classes a lot of community involvement is required, and that's primarily where the idea for the project came from.
Megan_King_07
TR: Who are the people you photographed? How did they react to you being in their homes and businesses with a camera?
MK: I knew most of the people I photographed pretty well before I started the project. One of the guys was my neighbor for a year, a few others I had some classes with, or many of the people I've met by extension of close friends. So far I haven't had a bad experience photographing this community. In the situations where I don't know the people going in, once I explain the project they're happy to help.
Megan_King_19_1200
TR: What have you learned during the course of this project?
MK: I think one of the more surprising things is how much this project has shifted my own world view. My relationship with this area I've grown up in has become more complicated. I've become more open minded.
Megan_King_15
TR: If you could help every person in Appalachia understand one thing about their Hispanic neighbors, what would it be?
MK: That we're all the same. They're human beings just doing the best they can. I find that pretty relatable.
6x7 July 2013 12 Greenville
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HISTORY+CULTURE




I didn’t know I spoke with a dialect because everyone around me talked the same–choppy and fast without stopping between words, adding flourish with sayings:

Lord willin and the creek don’t rise.


You ain’t sugar; you won’t melt.


Ain’t seen you in a coons age.


In a world framed by metaphors, our speech was elaborate and gorgeous. Now, I wish I’d had the good sense to protect it.


When I signed up for high school theater, I was told to lose my dialect, so I started saying the g in words ending in ing. I learned to pronounce pen and pin differently. I mastered the flat, all-American accent used by newscasters and politicians and for a while, managed to contain it to the stage. When the curtain closed, my Appalachian twang sprung back, full force.


But mainstream English proved hard to control. It seeped into daily life, turning my war’sh into wash and grocery store buggies into carts. By the time I left for college, my beautiful mountain drawl had faded like fabric left in the sun, its pattern still visible though softened.


Then I spent four years surrounded by Northerners, the kind who wore Birkenstocks and quoted Margaret Mead. Though my college was in North Carolina, Yanks flocked to its progressive campus, bringing the even timbre of the hyper-educated with them.


This dull tone wore down whatever was left of my twang. It also changed what I heard back home. On the phone and during visits, mountain dialects popped. Someone would say hey, swee’dee or call me Maurk’ly’yn, and I’d smile. It was like being greeted with fireworks every time family called.


I’ve heard that some mountain folks erase their accents intentionally. A few years back, National Geographic explained it this way:


“Many young adults from the United States’ southern Appalachian Mountains . . . fear their distinct twang, nonstandard grammar, and obscure idioms will cause potential employers to conclude they are incapable of holding jobs.”


This never crossed my mind. My accent was virtually gone by the time I was doing white-collar work, so I doubt it hindered my career. Though maybe I was just passing. Like some people of color used to pass for white, I blended into the dominant culture.


In Boston, where I spent my 20s, I listened to rock and jazz, not bluegrass. I vacationed at the beach or abroad, not in the mountains. I wore button downs and khakis without owning a single pair of bibs. Once, a friend told colleagues that I was from the Appalachians. Their eyes got big, and one said, “No way. I’d always assumed he was a Kennedy or something.”


It’s no surprise my accent remained dormant until I headed south. Twelve years ago, I moved to D.C. A job was waiting and the promise of better weather, but mostly I wanted to be closer to family. On weekends, I drove to the mountains to hang with kin and for the first time in years, talk the way I was meant to talk.


As unconsciously as it faded, my native dialect returned. Ain’t and y’all eased back into my sentences, sounding softer than when I was a kid but still seasoned with a distinctive drawl. Their cadence felt natural, as if it had been inside me the whole time.


Now my accent comes and goes, depending on who’s talking to me, how many drinks I’ve had, and, especially, where I am. Driving west from D.C., it’s like I pick up a signal around Front Royal. My vowels get longer. Single consonant words begin breaking into two. By the time I reach the Shenandoah Valley, I talk about how everything looks migh’dy purdy, and as much as the mountain view around me, the twang in my own voice tells me that I’m home.

*


This piece appeared in The Roanoke Times on June 21, 2015.



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HISTORY+CULTURE
West Virginia can't get a break. After more than 150 years of domination by coal companies, which have literally gone to war with their workers and blown apart entire mountains, residents now face a new threat in the name of energy extraction—fracking for natural gas.
Sure, gas produces less carbon pollution than coal, but it's still a dirty business. Just ask John and Annie Seay, subjects of the forthcoming documentary In The Hills and Hollows, which will explore the impact of fracking operations on West Virginia communities.
The Seay's fell in love with an old farm house in Lima, West Virginia and moved there many years ago. Now their property is surrounded by seven hydraulic fracturing pads, some as close as 1,500 feet from their front door.
doc ad"We checked this place out. It had really good water," says John, "but now, there's already eight incidents about two miles away of poison water."
This is a common problem. A single fracking well uses millions of gallons of chemical laden water. After being shot deep into the ground to break up rock and access gas, this toxic slurry is often pooled in manmade ponds, which can leak into groundwater, harming wildlife and threatening human health as well. According to a 2011 peer reviewed study, chemicals used in fracking operations are linked to cancer, endocrine disruption, and neurological and immune system problems.
Believe it or not, poisoned water is just the start. The Seay's say that fracking has damaged their air quality too, filling their hollow with noxious fumes, and because these mines run as deep as a half mile, earthquakes have become common in many areas that rarely experienced them before.
"This makes me really angry all the time," John says, "The noise. The attitude of the truck drivers who try to run you off the road."
After years of worry and frustration, the Seay's have called it quits. In the below preview clip for the documentary, the two of them face their last days in their mountain home. Like many other locals, some of whom have lived in West Virginia for generations, the Seay's have decided to sell their prized farmhouse. Once they're gone, they figure the place will either be torn down or turned into a "man camp" for gas workers.
For Annie, this is nothing short of heartbreaking. "Those hills—they're home," she says, "I've tried to protect them. I've lost the battle."
While the documentary will focus on one state, this isn't just an issue in West Virginia. Across Appalachia, states either permit fracking or are considering it.
So what do you think? Is fracking a economic boon or a lost battle? Is there a way to frack while preserving our region's hills and hollows, or does the practice need to be banned outright?
Please leave a comment below.
https://vimeo.com/106229667
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HISTORY+CULTURE
Recently called a "bad zoo" in court, Virginia's Natural Bridge Zoo temporarily lost its license after inspectors found more than forty violations of the Animal Welfare Act and the public pressed for its closure. Online petitions, including one I started, have attracted nearly 300,000 signatures.
With its planned March opening delayed, the zoo has been missing out on visitor dollars even as owner Karl Mogensen has reported spending roughly $40,000 trying to bring the long-neglected facility up to standards. This was in addition to his usual operating expenses, like the $5,000 he pays monthly for feed.
This isn't entirely surprising. Back in April, when Mogensen's license was revoked, I pointed out that he was responsible for a zoo's worth of animals without any visitor income. I said then that I hoped this period would be short lived.
Apparently, it hasn't been short enough. This week, Mogensen told public radio station WMRA that the zoo's closure has forced him to begin selling his stock.


"On April 20, he posted an ad to an exotic animal website for the sale of two camels for $12,000 each and four spider monkeys for $9,000 each." — WMRA




While Mogensen has bred and traded exotic animals for years, hearing him suggest that he's selling his exhibit animals worries me. I reached out to Tanya Espinosa at the USDA's public affairs office to see how much longer all of this might take.
"There is no timeframe on investigations," she told me, "as we want to make sure that we are as thorough as possible."
This was a prudent response and, as it turns out, a slightly cagey one. Ms. Espinosa likely knew a bit of news she didn't mention. USDA representatives were back at the zoo this week, making their final inspection. By Friday, news outlets were reporting this fact and saying that state officials are awaiting the Feds' last report, which begs one question—with the welfare of all these animals at stake, what happens next?
"Once an investigation is complete," Ms. Espinosa told me when we talked, "there are a couple of options."
First, an Official Letter of Warning could be issued, she explained. This doesn't have any monetary penalty. It simply tells Mogensen that he is not in compliance— basically, a slap on the hand.
Second, the investigation could lead to a "stipulation," which does impose a monetary penalty, or third, the case could be sent to an administrative law judge, who's ruling could extend the suspension of the zoo's license or revoke that license outright.
While there remain a lot of possible outcomes, none seem to relocate the zoo animals somewhere safe. This was a cornerstone of the petition I launched, which called for the USDA to close the zoo and move its animals to sanctuaries.
In a follow up email, I asked Ms. Espinosa if the agency has the authority to take this action but received no reply. I did, however, reach a representative at People for the Ethical Treatment for Animals (PETA), who said that while Mogensen may be allowed to keep the animals, if his license is revoked, "he will no longer be able to act as an animal dealer, which is currently covered by his federal license."

This is a promising twist. Without the ability to sell his animals, Mogensen would have no incentive to breed them, which could save many generations of animals from his slipshod care and uncertain futures on the exotic animal market.
But that's not all. PETA pointed out that without a license to exhibit or sell, Mogensen would have little reason to keep his existing zoo animals. "If and when that time comes," my contact was quick to point out, "PETA will do everything in its power to ensure the animals are placed in reputable, accredited sanctuaries."
So, friends, hope stands! The zoo is closed for now. A decision is coming soon. And the animals at Natural Bridge Zoo may yet find good homes.
Thank you all for your concern and unwavering voices.
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Appalachian accents are like no other. A mash up of influences—British Isles, German, African dialects, probably some Native American—all mixed together and baked in our secluded hills for a couple centuries.


Some say that the resulting sound is more like Elizabethan English than the contemporary accent in England. I'm not sure how to confirm that without a time machine, but I do know that the minute Appalachian natives leave the mountains, that accent sets them apart.


You know how it goes. A friend from, say, New Jersey is deaf to his own thick intonation but doesn't hesitate to reference the Beverly Hillbillies or Deliverance when poking fun at yours. Some folks call it vocal imperialism. I just call it mean.


But it works. Countless mountain people are ashamed of the sound of their own voices, some going so far as beating the accent into submission with diction classes.


This pitiful pattern set today's guest blogger Chelyen Davis to thinking. A Southwest Virginia native who lives in Richmond, she sees "code switching" among Appalachian folks all the time. That's when someone switches dialects depending on the circumstances.


Chelyen, who also writes on her own blog Homesick Appalachian, asks an important question—now that we're constantly exposed to people from other regions, is code switching just a fact of life or are we losing a key piece of our mountain heritage?


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NPR recently started an interesting conversation on Twitter by asking if public radio voices are “too white” and if those white-sounding public radio voices are limiting the audience, shutting out people who don’t necessarily choose to listen to people who don’t sound like them.


The discussion grew out of an African-American professor and hiphop artist who did some radio work and noticed that he talked differently for radio, and was considering why. From what I could tell from the Twitter discussion, folks of other ethnicities weighed in, and then people started talking about how public radio voice isn’t just white, it’s a sort of standard, non-accented white. You don’t often hear regional accents on NPR, no matter what race the speaker is.
That’s an interesting and valuable conversation to have, and it gets into all kinds of issues — race, ethnicity, regional dialects, the value placed on how we talk, how we sound, the words we choose, how others judge us by all that, etc. An interesting comment on that is here.


But it got me thinking off on a specific related tangent — Appalachian code-switching. This probably would apply to any strong regional accent (hi, Boston), but Appalachian accents are my own experience.


I don’t think everyone in Appalachia (or the south, or another region with a strong accent) code-switches. Not everyone needs to. My uncles and cousins mostly still live in the small communities where they grew up, and I doubt they talk any differently at work on the strip job than they do at home. They might change their words a bit when they go to, say, the doctor’s office in Bristol or Johnson City. But largely, their lives are lived around people who talk the way they do.


But I grew up hearing my parents code-switch, because they left those communities. They were both the first in their (large) families to go to college, and we lived in a town — still in Appalachia, but outside the more isolated, small communities where they both grew up. You could hear my mother’s voice change when she called her parents on the phone. To neighbors where we lived, it was your basic “Hi, how are you?” To her own parents, it was
“Howdydo. Howre you’uns a-doin?”


She still does that when she calls her dad or brothers, or when we visit them. And so do I. It seems you only need to code-switch when you leave. (Or become a radio/tv host.)


I am an adopter of accents. I think there’s actually a word for that but I don’t know it — I unconsciously mimic the accent of the person I’m talking to, if I talk to them for long enough and if their accent is distinctive enough. I don’t mean to, and they aren’t necessarily flattered by it, and I don’t always do it strongly. I first noticed it when I spent a month in England in college.


But my own accent is softly Southwest Virginian. I’ve lived away a good long while, so it’s not as strong as, say, some of my cousins’ accents. And probably it never was, because we lived in town and my parents went to college and I grew up watching public TV and, as I noted in a previous post, I was the kind of kid who thought “ain’t” wasn’t a proper word. But it’s there. People here, away from the mountains, sometimes comment on it, or ask where I’m from. It’s a great way to find fellow mountain folks here — we can hear each other talk, and believe me, if I hear an accent that sounds like it’s from Southwest Virginia, I’m going to ask that person where they’re from.


My sister’s accent has mostly faded, but mine hasn’t. I think I’m just prone to an accent. Also, I lived back home for a couple of years after college, so maybe it sort of “set” then. It gets stronger if I’ve had a glass or two of wine, and it gets stronger when someone asks about it. It knows when it’s being talked about, and it likes to show off.


I have a professional job, but I rarely consciously talk differently than I would, say, at a party or at home. The primary exception has been at public events — say, if I’m on a speaking panel — or the occasional times when I’ve been a guest on a radio show (public radio, at that!). I think the accent tightens up a bit then, tries to behave itself. I probably make some different word choices than my colloquial speaking voice, although I know I’ve said “might could” on the radio.


My writing changes some, too. I’m rereading this post and it sounds awfully formal. If you and I were sitting down and just chatting about this, I would probably say things a bit differently.


But that’s all code-switching, I suppose, to an extent. I also know I talk differently when I call home to Mom, and even more so when I call my grandfather. I talk differently when I visit my parents’ families. My boyfriend tells me I talk differently when I come back from a visit home. So I code-switch both ways, to a lesser accent and to a stronger one.


And I’m glad. I’d rather switch than talk blandly all the time. I don’t want to lose my accent, my word choices, the colorfulness of Appalachian ways of talking. I’d be fine with that accent getting stronger. I know many people outside the mountains assume someone with a strong mountain accent is a dumb hick, but I figure that’s their problem, not mine. I love using terms like “might could/should/would” — and it is so handy, perfectly describing that point between “I could go to the party” and “I only MIGHT could go to the party.” I love having that vocal connection to home, to a place and a culture and a history.


My boss once told me he had heard a theory that we talk like where we want to be. I miss home, so I love talking like people back home. People who are glad to get out of the mountains (and there are some such misguided souls) probably welcome the disappearance of their accents, consciously work to shed them. The boss had come from a poor, flat farming area in North Carolina. He didn’t seem to much miss it, and he didn’t talk like his roots either.


I’m not a linguist. I assume there are studies and papers and research and opinions out there about this subject, about Appalachians shedding their accents in the flatlands. I know there are many papers and studies and ruminations about the broader issues of the homogenization of language, the pernicious effects of TV (and radio!) on making us all sound the same, the value judgments placed on word choices and on speaking “proper” English, and all that.


But I love accents and words that change by region. Perhaps because I value them so highly for my own sense of culture and place, I’m all for everyone else having their own too. Why should we all talk the same? Language should be colorful. So while I love public radio, I hope it doesn’t Henry Higgins us all, stamping out accents and strange pronunciations and weird words.

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HISTORY+CULTURE
The wars in Iraq and Afghanistan have taken lives from many nations and every state, including those of thirty-eight West Virginians who died in the line of military duty. On April 25, these brave men and women will be honored with a special ceremony at Zion Heritage Farm in Fairmont. 
A memorial grove will be planted in the midst of a scenic eight-acre orchard—with one apple tree for each of the state's fallen heroes—and you're invited to help.
"We hope it will be a day of happiness, not sorrow," said Heather Neill, the orchard's owner, who has lined up music and refreshments and who will be joined by the honorees' families along with representatives from the state's Department of Agriculture. "We hope the trees will be a joyous memorial to their lives, not their deaths."
The planting will begin at 2:00 PM, and visitors are welcome to join in the digging or just watch. Either way, be sure to wear comfortable clothes and consider bringing a dish to share.
Once the trees are planted, family members of the fallen heroes will each select a tree by placing their loved one's dog tags on it. This section of the farm, which will include a granite bench for quiet reflection, will remain open to these families year-round, and they are invited return at harvest to pick fruit from their trees. 
The rest of Zion Heritage Farm, which started in Spring 2014, focuses on organic apples. Most of the two-hundred trees grow heirloom varieties, including West Virginia’s own Grimes Golden. 
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