music revenue slow industry density high and it Ain’t the Pirates Fault


Web music revenue growth stuck in single figures – Yahoo! News.

By Art Menius 1/23/2012

The level of stupidity in this short AP story proves remarkable.

First, in this global economy 8% growth isn’t bad.

Second, and much more troubling, these global brand managers seem to think they can make as much money selling digital albums for $8.99 as with CD’s at $15.99. That is ludicrous.

Third, and most disturbing of all considered the compensation these folks receive, they still seem to have hopes of restoring music industry profits to what they were a decade ago. That is not going to happen any time soon, I’m afraid. The world had fundamentally changed. Digital music sales are not going to replace fully hard copy media sales. Nor will there be a boom of folks buying downloads to replace CDs, like happened with LP to CD. Folks are just going to rip the CDs they purchased. If income  can be fully replaced, it will require sources other than digital music sales

It doesn’t take an MBA to see this much, just simple math skills.

They still blame pirates??

Piracy is only a small part of the story, IMHO. While it has some truth to it, it is mostly an old tired excuse.

There was shrinkage at retail as long as there has been retail.

There is so much more to this than piracy, especially disposable income and the vast difference in price points between mp3s and CDs.

Even that, however, is not the biggest problem. Remember this if you remember nothing else ole Art posts here.

YouTube and Pandora have taken us through the looking glass that is Spotify.

Pirates ain’t nothing compared to people legally listening to music without stealing it.

The real problem is that people no longer need to own music. The Internet has become a free, legal jukebox paying painfully small royalties to the IP owners.

We have moved past instant gratification through an 89 cent download.

People want to hear a new tune. They find it on YouTube and watch, or they listen on Spotify, radio on demand is a jukebox.

Compare the 12,000,000 Spotify users with the number of people stealing music on a daily basis. RIAA estimates the number of tracks stolen from 2004 through 2009 (and this would be the highest reasonable estimate) at 5,000,000,000 per year.

If those Spotify users listened to an average of just 3 tracks per day, that would be 13,140,000,000 tracks per year.

Pandora passed 100,000,000 users (more than 8 times Spotify) last summer and they now enjoy unlimited skips. 100,000,000 listening to an average of 5 tracks a day for ten days hits 5,000,000,000.

Perhaps more important as a legal (some of the time) (and often industry supported) source of free music on demand is YouTube. Adele “Someone Like You” 103,025,245 views.

It is there, to listen whenever you want, for free, almost as convenient as music you have purchased. I can throw it on the big screen and through my best speakers.

Grascals “I Am Strong” 130,993 views

AKUS “Paper Airplane” 584,945 views

This is not being in heavy airplay. This is on demand and free.

The RIAA website says that 13,000,000 different titles are licensed for legal use on 400 different such services worldwide.

These folks have downloaded not an illegal file. They have played by the rules. They used legal means to avoid buying music. And that is the whole where the bulk of the income disappears.

Even if the actual damage from piracy is far greater than I think it was in terms of genuine lost sales, piracy has functioned as a red herring. Piracy has distracted the industry, IMHO, for looking at many other problems that I believe are more pernicious in effect. The RIAA has led this charge in one direction in a multifront war.

If piracy were the primary source of industry problems, as RIAA claims, then why have a decade of efforts not produced the desired results?

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Why doesn’t Washington understand the Internet? – The Washington Post


Why doesn’t Washington understand the Internet? – The Washington Post.

This piece does the best job that I have seen at exploring the underlying issues that create poorly thought out Internet legislation rife with unintended consequences like SOPA and PIPA.

In that regard, the editorial ran on Jan 20 on the Post’s website and Jan 22 in the hard copy paper.

Note that Congress has yet to deal with a 1987 law that renders email left on a 3rd party server, like Gmail, more than 180 days is considered abandoned and may be examined by law enforcement without a warrant.

Linda Chorney Don’t Put Her Down You Put Her There


By Art Menius, January 21, 2012

Original publication on http://artmenius.com

Update 1/23: Read the thoughts of FAI Executive Director Louis Meyers here.

Update 2/12/12: And as it turns out veteran among veterans Levon Helm wins.

The Grammy controversy about Linda Chorney brings up a number of fascinating topics of which Ms. Chorney herself is the least interesting. Suffice to say for me, the nomination doesn’t bother me much, but a win would.

In case you are not obsessed with who wins the Grammy for Best Americana Recording, in which she is nominated, or any of the folk/roots categories that remain after the recent contraction, let me briefly explain with links to more.

The journeyman Ms. Chorney, 51, has managed a living as a singer-songwriter for 25 years, self-releasing five previous CDs before the Grammy nominated Emotional Jukebox. None have sold out their initial 1000 copy pressing. The cover for Me So Chorney, features her dressed like an Asian teen prostitute. I get that it is a joke, but still…. At the time Emotional Jukebox moved into the third and final round of the Grammy balloting against the latest projects by granola legends Lucinda Williams, Emmylou Harris, Levon Helm (winner of the first Americana Grammy in 2010), and Ry Cooder, the CD had sold not one copy recorded in Nielsen SoundScan system. By her own cheerful admission, the nomination resulted from aggressive social networking Grammy 365, a site set up exactly for this purpose.

For more on how she did this, read the Billboard article here.

The music industry reaction is described in this AP story.

A “fair and balanced” defense of her right to be a nominee by Kim Ruehl appears on the No Depression website.

The many more interesting matters brought up by the Chorney affair include, to me:

1) We are in a period when people with social networking skill and chutzpah can make things happen. Social networking remains a new technology, and that is when unusual things can happen. Ms. Chorney reminds me of Julia Allison, the Twitter queen of 2008. If you’ve forgotten, you can read the Wired article here. Ms. Allison became famous for having lots of Twitter followers because of her facility for self-promotion on Twitter. She made it on to the cover of Wired and into real world friendships with traditionally famous people simply for her ability to tweet herself and use that as a tool for social advancement. Her blog peaked at 10,000 daily readers of reports on stuff she did that day.

It is not like this began with the Internet. Was ole Thomas Paine any different, finding in the American Revolution a vehicle for self-advancement. Much more recently, witness Chloë Sevigny, who would become the middle wife on HBO’s “Big Love.” Five years before “Boys Don’t Cry” made her an art house film star, Ms. Sevigny was already legendary in Manhattan for…. Well, the best anyone could come up with was “her fashion sense” and that she was always at the right place at the right time. Fame ain’t fair.

I said all that to say this, social network promotion is an essential element these days. It is more than fair to criticize Ms. Chorney for releasing far less than the best Americana recording of 2011. Her website provides more than reasonable evidence of a certain self-absorption (even she notes it), so she can take that rap, too. It is patently unfair, however, to attack Ms. Chorney pedal to the metal networking efforts to get in on the ballot. It is hardly her fault that she could achieve the final ballot. Which leads us to….

2) The Grammy Process. This assumes, for purpose of discussion, that Grammys still matter in an era when Pitchfork (also see this 2012 piece) is far and away the most powerful review medium for recordings. Her success should not be too surprising, especially in the second round. A Grammy win for Emotional Jukebox would show that folks are either asleep at the wheel or voting in categories for which they are not qualified in the voter-for-one, winner-takes-all final round.

The second round of Grammy voting is more like the primary. More aberrations occur when one can vote for five, similar to independents voting in partisan primaries. Often in a category one knows something about, a voter will see 2 or 3 titles she or he actually heard and liked. Then, after marking those two or three recordings, the voter looks around and sees not another CD that fills both criteria, heard and liked. Sometimes, people vote for a record they heard and didn’t particularly like. More often, people fill in those last couple of votes based totally on name recognition.

And that is what I believe happened here, same as it always has, except that her networking campaign created the name recognition that caused her to move to the final ballot. “Oh, yeah, I’ve heard of Linda Chorney.”

That will exist as long as folks self-police in which nine categories they vote. She just worked the system that was there.

If those two matters were all there were to this (and they are for the mainstream music industry), I would not have bothered to write. I am riffing on Linda Chorney because the reaction to her nomination reveals the less appealing side of the folk-roots-Americana world. This is the community where I live. It concerns me because our community carries the historical burden of being better than that. Ours is the music of the labor movement, of coal miners facing Pinkerton agents. Our community brought “We Shall Overcome” to the Civil Rights movement and provided the soundtrack for it and the first half of the anti-Vietnam War campaign.

3) The Americana community is clubish and inward looking, especially in Nashville. This is my home and my friends. I know whereof I speak. So was the Greenwich Village folk scene fifty years ago. It is a pretty natural development among emerging communities. The controversy and our reactions to it – including mine – treat Ms. Chorney as an outcaste, as not part of our club, as the other, not the we. If one of our friends had done this, we would have thought it was cool, that he or she was fighting the power and beating the man at his own game. An editorial in Cohesion Arts explores this aspect in depth.

Instead, a stranger from the northeast made the final ballot. An actual complete unknown who has survived for close to three decades taking the gigs, such as cruise ships and resorts, that many think below us or what initiates do.

Other than Kim Ruehl, we have reacted not by asking what we can learn from this but by trashing Ms. Chorney’s efforts and spreading pretty bizarre rumours about her on the Internet. We have not shown ourselves to be open and welcoming.

4) Even more disturbing, the reaction to the nomination has brought up divergent perceptions of class strata within the folk and roots community. Within our ideal, classless group, we have as many differing perceptions of haves and have nots as we have people in our community. For millions of people, any one of us is a have because we manage to scratch out a lower middle class living in this field. For others the haves are those who have any kind of management and an agent, maybe a publicist and a recording label. I have been around a long time and think of the haves are those on labels with national distribution, and big name management, booking, and media representation.

It is as shifting as it is pernicious. The one thing, I submit, that we cannot do in this community is permit the perception of “The Other,” for us to think our differences are greater than that which we have in common. We can not vote for Ms. Chorney without putting her down. We can praise her opponents instead of tearing her down as if we were a bunch of Republican presidential candidates. We can explore how we can use tools like Grammy365.com on behalf of ourselves and our friends.

We are in this together from all aspects of the performing folk arts. The enemy ain’t each other. Nor is it a minor singer-songwriter who manages to get on the ballot.

The enemy is human nature, our propensity for imputing bad motives in those we do not consider friends. Our tendency to divide rather than unite, to see allies and enemies. Our foolish concern with who gets to wear the biggest headdress.

As the folk community, annealed in our desire to use the performing folk arts to build a better, more justice, equitable, and diverse society, we have a responsibility to humanity to model better ways of thinking about the world, to frame issues for the “both and” not “either or.”

We have the capacity as a community to change the world not just through our art but with how we look at the world.

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And now it is Etta James


By Art Menius 1/20/2012 for artmenius.com

Yesterday I did a brief blog about the passing of Johnny Otis. One of the links was to the LA Times obit whose lead noted first that he wrote “Willie and the Hand Jive” and secondly that he “discovered Etta James, Little Richard, and Hank Ballard.”

Today we mourn Ms. James.

For the Reuters story click here.

For the CNN story and some performance video click here.

As the Daily Mail noted in this obit, Etta James was one of the original rock ‘n’ roll “bad girls.”

Best known for the iconic “At Last,” this R&B pioneer was only 73. She struggled, paradoxically, with both morbid obesity and heroin addiction (hepatitis C was among her compications). Despite the eating and the shooting up, Etta James could soar.

She was the bridge between classic pop and R&B the same way her contemporary Patsy Cline (tell me there was no influence on her from Etta) connected classic pop and country. Each added lush strings during the early 1960s. How many folks could claim to be Minnesota Fats’ daughter, collect a half dozen Grammys, and perform with the Rolling Stones and Grateful Dead?

Like Johnny Otis, her mentor, Etta James came from specific times, places, and circumstances unlikely to be replicated.

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Johnny Otis


By Art Menius 1/19/2012

Word this afternoon is that we lost another pioneer of 20th Century American music at age 90.

Calling Johnny Otis “The White Godfather of Rhythm & Blues”  or the composer of “Willie and the Hand Jive” hardly does justice to a life led fully, robustly, and well. Otis was came as close as anyone to being a Renaissance man during the last century. Otis kept a performing career as band leader and piano player going for 70 years, just like his marriage. He played on records from folks ranging from Lester Young to Johnny Ace. When he cuts his 16 piece jump band down to a small ensemble, R&B was in full form. His “Harlem Nocturn” was one of the first hits for the new form in 1946.
Otis was a father with Shuggie achieving his own fame as a musician.
He bagan his career on radio as an R&B DJ in the 1950s and moved on the LA TV, then spent thirty years hosting an oldies show on Pacifica’s KPFK until 2005.
Along the way he had time to work as a preacher during the 1970s in addition to being a serious visual artist (paintings and sculpture). He even found time to serve as deputy chief of staff for a US Congressman.
Concerned for the environment, in his 70s, Otis became a large scale organic farmer and opened an organic grocery.
Otis is one of the last exemplars of Americans of a certain generation born between the wars who embraced African-American life, who, in Otis’ words became “black by persuasion.” This effect of the Jazz Age was an essential forerunner of the Civil Rights Movement.
Johnnie Otis was a social activist and author whose four books addressed topics as diverse as his musical career, cooking, and the Watts riots of 1965. The latter was a supportive note from someone who has suffered through the KKK burning a cross on his lawn. His activism, according to NPR today, prevented Otis from achieving the mainstream success of a Dick Clark or Kasey Kassem.
Johnny Otis was the epitome of a certain kind of brave, visionary 20th Century American.

Read the LA Times obit for Johnny Otis here

Read the NY Times obit for Johnny Otis here

 

Building Audiences


Update from the National Arts Marketing Project 1/20/2012 – click here for another vital audience development resource A free e-book download. Plenty of other material here. Sign up for their enewsletter.

Link and Thoughts posted by Art Menius 1/19/2012

The Wallace Foundation has made available four free downloads of case studies in audience development. You can get them here as PDFs:

Building Arts Audiences: Wallace Foundation Studies of Four Arts Groups – The Wallace Foundation.

The Wallace Foundation has been investing heavily in the theory and practice of audience development in the arts. The roots, folk, and bluegrass presenting community has made far too little effort to learn from arts, rather than commercial, audience development methods. Commercial methods, in my opinion, focus too much on marketing individual performances or events. Arts presenters provide stronger, more durable methods for building audiences for your presenting programs. Is not the Holy Grail for audiences to trust the producer’s choices rather than attending only shows by names they recognize?

Wallace commissioned these studies in response to public participation in the arts dropping to their lowest levels since the first such survey 30 years ago. Wallace believes that we are undergoing a generational transition in arts consumption. These free downloads address how to reach younger audiences during this fundamental shift.

The 4 organizations in these studies (the Isabella Stewart Gardner Museum, Steppenwolf Theatre Company, the San Francisco Girls Chorus, and Boston Lyric Opera.) deal with audiences and art forms quite divergent from bluegrass or folk.

Nonetheless, these ideas are inspirational and can get roots presenters thinking in new ways. The study of the San Francisco Girls Chorus, for example, directly addresses drawing new audiences for music about which the general public has a stereotype. Sound familiar?

Beyond that, Wallace researchers have identified five overarching principles common to all four successful programs:

1. Market research can sharpen engagement-strategy development
and execution.

2. Audiences are open to engaging the arts in new and different
ways. We have to provide and promote new entry ways to events rather than waiting for new audiences to find bluegrass, folk, blues, and old-time.

3. Participation-building is ongoing, not a one-time initiative. This is particularly true for the roots music fields. We are far too prone to rest rather than pushing 24/7 to build larger audiences.

4. Audience-building efforts should be fully integrated into every
element of an organization, not a separate initiative or program.

5. Mission is critical.

These four downloads prove just the latest of many free publications about audience development Wallace Foundation offers. The primary gateway to this wealth of information than bluegrass, folk, and traditional presenters can use is here.

Many more resources about audience development, from the arts world largely, can be found on the Internet.

The League of American Orchestras provides information here.

Audience development consultants ADS blog here.

This column from last spring concerns applying AD concepts in new ways.

From Scotland, a broad overview slideshow on cultural audience development, especially cultural tourism.

That is just a start. Much information about audience development exists that we can use far better to build our audiences going forward.

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New Josh Hisle Video for Occupy


By Art Menius 1/18/2012

My buddy Josh Hisle has toured with Neil Young, Graham Nash, and, this fall, Stephen Stills, while recording for Young’s label. A Marine combat veteran who channels his experiences into his art, Josh posted this video just now on his Facebook page. Parental advisory language.

Click below to view

A tribute to the Occupation from Josh Hisle. Bail Me Out was written after Josh’s return from his second tour in Iraq.
Josh is one of the strongest young artists I have discovered this century. Check him out.

Culture Desk: The Master from Flint Hill: Earl Scruggs : The New Yorker


Culture Desk: The Master from Flint Hill: Earl Scruggs : The New Yorker.

Steve Martin continues to spread the gospel, this time with a lovely blog about Earl Scruggs in the New Yorker website. Martin has done more than I can express for promoting banjo music. This is just the latest, but I certainly love seeing Earl in that New Yorker font!

The Gotterdammerung of King Coal


By Art Menius

Original publication on artmenius.com January 15, 2012

At the start of 2012, Central Appalachia faces a profound economic and social transition driven by global and national concerns about the effects of the product of its coal monoeconomy. Just as it took 150 years after its discovery near Coal River, WV for coal to establish its economic hegemony in the region, the Gotterdammerung of King Coal will ultimately take some time, but likely just a decade or less. Communities, for the first time, must confront and make the choices necessary to control their own economic futures. The region is grappling with the reality to that no price point or quality, no amount of political power or mass rallies, no level of threats and intimidation, no degree of propaganda can keep alive an industry when the world rejects its outputs.

In a recent Smart Planet article “Regulation and the Decline of Coal Power” “Energy Futurist” Chris Neider explores the substantial non-regulatory issues accelerating the decline of the Appalachian coal market. Neider identifies, in order:

  1. Price, especially in comparison to natural gas, rendered ever less expensive by shale gas, asserting that gas is “now actually cheaper than low-sulfur bituminous coal from Central Appalachia. Only coal from the low-sulfur Powder River Basin of Wyoming is cheaper, at $0.71 per million BTU…. Central Appalachian coal has ceased to be competitive on price largely because those mining operations are much older.” The relative cost of natural gas for electrical power generation has decreased in six years from almost five and half that of coal to just 1.2.
  2. “Regulatory uncertainty,” rather than onerous regulations rendering conversion to gas being the safe choice
  3. Age of coal power generation plants meaning natural gas fired plants will replace them.

This is the just the most recent clear statement of the seemingly obvious realities of coal’s demise in Central Appalachia. It reinforces the stark Associated Press report from late September 2011, “Appalachia faces steep coal decline.” That article notes the finger pointing at Obama regulations, then brings up “something a change in administrations cannot fix. The region’s thick, easy-to-reach seams of coal are running out, forcing many operators to shift to cheaper and more destructive mining methods that draw heavier environmental regulation.” Even the Wall Street Journal back on July 30, 2009 screamed “Once Hot Coal Piles up as Demand Cools.” The same day I read that, my neighbor was dumping more coal into the piles in eastern Kentucky.

A great frustration of living in the region was seeing up close the coal industry’s propaganda machine assuring the people that coal had a long future in the region and besides, in the unspoken, underlying message, coal was the only hope they had for lucrative employment. Former Kentucky governor and veteran coalman Paul Patton expressed forcefully in July 2009 the social psychology of a region that has come to believe that coal is its only economic option. “You can’t have a modern society and a pristine environment. You can’t say you want all the benefits [of development] and then ban something every time human life is affected. You just can’t.” Without mining in Eastern Kentucky, “The population will be severely decreased,” Patton said. “There’s not an alternative source of base income aside from coal.… Well, once the coal goes away, I just don’t see what you do to keep the show goin’.” Check out this site for a program that pushes and rewards “coal education” in the public schools. I would see their inserts in local papers with photos of students and teachers who had received its CEDAR cash awards.

The industry and its allies blame regulation for the problems of a commodity industry controlled by global economics. President Obama’s July 2009 appointment of Joseph Main, a retired safety and health administrator for the United Mine Workers of America, to head the federal Mine Safety and Health Administration (MSHA) did signal a shift in regulatory oversight from the former industry officials typically appointed by prior administrations. Similarly, the Environmental Protection Agency entered into a memorandum of understanding with the Department of the Interior and the Army Corps of Engineers to implement “an Interagency Action Plan (IAP) designed to significantly reduce the harmful environmental consequences of Appalachian surface coal mining operations, while ensuring that future mining remains consistent with federal law.”

Nonetheless, Neider concludes:

So in reply to the coal-fired power sector’s bleating about regulatory uncertainty, I say: The only uncertainty is how quickly, and how much, the noose tightens around your neck.… [T]here is no arguing about price. As long as the shale gas phenomenon can bring gas to market for under $4 per million BTU, the economics are tilting in its favor. The cost of renewables will continue to drop, while the cost of coal will continue to rise. That’s the hard reality of price, and it has nothing to do with regulatory uncertainty.

Nieder’s calculus does not factor in the effects of policy changes by foreign governments, such as France and Germany getting out of the coal power generation business altogether in the late 20th Century, and grassroots political action in American cities and campuses. Last fall National Public Radio reported on Bellingham, Washington’s anti-coal action Bellingham, Washington fights against global coal. Coal-Free UNC is one example of coal abolition groups achieving success on college campuses nationwide.

Coalfields that began to be developed a century ago are nearing the end of their productivity. Although Appalachian coal continues to be produced at relatively high rates, the regional economy is in steep decline. The coal industry is highly mechanized and employs fewer miners each year. Remaining coal seams are increasingly difficult to mine, requiring radical techniques such as mountaintop removal. Additionally, most of the potential for hydropower in the region has been tapped, as have most of the natural gas reserves.

Central Appalachia presents profound challenges to social change and sustainable economic development: individuals and communities are poor, tax revenues are low, social services providers are understaffed and lack capacity to conduct outreach, public institutions and infrastructure inadequate and inadequately maintained. The region’s economy is built for industrial coal, timber, and gas extraction. Today, the employment opportunities that these sectors once provided for the population are dwindling due to declining reserves and increasing automation, and the remaining jobs are in jeopardy.

If the world is to wean itself from dependence on fossil fuels, central Appalachian is the place where we shall find solutions. Like Sam Cooke sang, a change is gonna come, but not without serious resistance to both the change and the underlying reality.

Not just this transition, but the mere discussion of this change has become emotionally charged is within the coalfields, echoing the polarization throughout America. In a region trapped by monoeconomy, those who believe that coal is the only option, their only hope of a decent paycheck are not disposed for thoughtful debate about economic development theory. Indeed, coal companies work to frame the debate as being between coal and unemployment rather than the extractive economy and alternatives to it that keep the wealth within Appalachian communities. Those activists, however, who approach the issues only from an often polemical and polarizing environmental perspective play into the hands of the coal companies by not developing and offering alternative employment at comparable pay levels.

“This is a war zone; it is a civil war,” says West Virginia activist Judy Bonds of Coal River Mountain Watch, which advocates not surface mining Coal River Mountain in order to harness its long term potential for wind generated power. Bonds exemplifies a social phenomenon described by Jeff Biggers, author of The United States of Appalachia and a new book on coal, Reckoning at Eagle Creek (The Nation-Basic Books). “Those affected by mountaintop removal and coal-fired plants have emerged as the most informed and articulate spokespeople against the ravages of the out-of-state coal companies. In effect, it is the gross indifference and recklessness of Big Coal that turns former coal miners and farmers and shopkeepers into the nation’s leading coal and climate change activists.”

Regional musical culture already reflects the tectonic shift. From the recent album Jewel Ridge Coal by Tazwell, Virginia’s Jeni and Billy to the 80 years of recordings compiled in 2007’s Music of Coal, musicians have addressed issues directly related to coal. Writing in the Wall Street Journal, reviewer Barry Mazor described Don’t Turn Back, the career-defining June 2009 release from heretofore traditional eastern Kentucky bluegrass singer-songwriter Dale Ann Bradley as expressing “the very theme of change and continuity.”

In face of fact, the industry even invented a complete myth, “Clean Coal,” which doesn’t exist even if President Obama believes in it. The industry engaged an ad agency, R&R, to market “Clean Coal.” Guggenheim fellow Richard Coniff demolished the “The Myth of Clean Coal” in 2008. While at Yale Environment 360, check out the 20 minute web video “Leveling Appalachia: The Legacy of Mountaintop Removal Mining.”

Industry supporters, such as former US Senator from Kentucky Jim Bunning similar championed a technology developed by desperate Nazis to use nearly fifty gallons of water to convert coal into a gallon of petrol. “Coal-to-Gas” seemed to enjoy but a brief fad in 2006 and 2007, mostly around Pike County, Kentucky, “America’s Energy Capitol.” The AMI film “True Cost of Coal” captures some of the propaganda efforts as well as exploring the emotional hardship of having a loved one working in the mines. Yet despite all the doubts, in 2011 construction of an actual coal-to-gas plant began in nearby Mingo County, West Virginia.

Even when central Appalachian coal could compete on cash price, the human and environmental cost was tremendous. In December 1993 an Atlantic Magazine article, “The True Cost of Coal,” brought some of these issues into mainstream attention. So have a plethora of good films from Appalshop and elsewhere. More than half-century before, Hindman, Kentucky-based novelist and poet James Still provided a vivid portrait of the human cost of cheap coal in the gripping River of Earth. Contemporary Appalachian novelist Silas House was nearly as eloquent in describing the environmental disaster of central Appalachia in a recent New York Times op-ed contribution. The online journal Southern Spaces used multi-media to offer a much less poetic, but equally powerful presentation of the effects of mountaintop removal coal mining (MTR).

These pieces suggest how the role coal producing areas have played in providing the nation with electrical power have shaped them in deleterious ways. They demonstrate who is affected by energy policy and how that policy helps or harms them. How those areas’ efforts to power past coal will shape a shared vision not just for themselves but for the world. Have coal producing areas not carried more than their share of the burdens associated with energy production for the world? Indeed, the extractive industries have so adversely effected the people of the region that they had to be, starting in the late 19th century, redefined as less than full citizens, as the “other,” as “hillbillies,” ignorant and dangerous like the rapists in “Deliverance.”

Self-described ”presentist historian” Ron Eller’s most recent book, Uneven Ground: Appalachia Since 1945 (Lexington: University of Kentucky Press, 2008) uses the past as perspective to frame and explore an historic social and economic struggle unfolding today as communities strive to take control of their economic destiny.

The coal producing areas of Appalachia demonstrate the hollow failure of 20th Century American concepts of development based on concepts of bigger is better, more is more, and unchecked growth advances the good of all. Just as burning coal has produced the negative environmental impacts that endanger its viability as a product, the efforts to develop Appalachia have not eliminated poverty, poor education, poor health, or unemployment. Indeed, a convincing case can be made that fifty years of development have exacerbated many of these negative factors. Central Appalachia today shows what happens when traditional development does not bring a better quality of life and how that reshapes the culture of an American region that has been a cultural exporter as well.

Central Appalachia of the early 21st century can be viewed as struggling to overcome what former presidential advisor Van Jones called the “suicide economy” of the 20th century at its most self-destructive. This connects with broad, global issues as the planet nears a tipping point for its environment and presents them in real, human, on the ground terms.

The results of a century of the “Saudi Arabia” of coal hardly resemble the Persian Gulf excesses of the U.A.E. Central Appalachia became globalized earlier than the rest of the USA making it dependent on the world economy much longer than insulated regional economies. Appalachian exploitation began in the 1880s and took off with the railroads, built to extract the raw materials and complete the takeover of Appalachia. Railroads polluted and destroyed, allowed clear cutting and destruction of self-sufficiency. The Great Depression hit coal country in 1927. This followed the peak coal employment of 700,000 in the early 1920s when a miner could earn $20 to $50 a day.

Central Appalachia is economically colonized, because it is not in control of its own economy. Limited job opportunities have created decades of “brain drain” in the Appalachian regions. Citizens in most counties of central Appalachia have 75% or less of the mean US education. The aggregate statistics for distressed counties in Appalachia are stunning and stark; according to 2006 Appalachian Regional Commission (ARC) statistics, the numbers include $10,953 per capita income (40% of the national mean) and 30.81% poverty rate (2.5 times the national average). In Appalachia, 116 counties exceed 1.5 times the poverty rate. During 2008-2011 recession the Appalachian region fared far worse than the nation and was battered by job losses and structural economic changes, losing all of its job gains since 2000. More than twenty years after the elimination of the broad form deed, 72% of the surface rights and 89% of the mineral rights in central Appalachian remain absentee owned.

Since Appalachian counties are predominantly rural, low-income people are often far from existing government service providers, health care facilities, and potential job or training opportunities. Public infrastructure is often poorly maintained and unattractive to new business. The labor pool is compromised by low educational levels, high illiteracy, and poor public health (in West Virginia, for example, 25% of the population lives with disabilities). A profound sense of hopelessness and lack of personal empowerment leads to high school dropout (50% in some communities), teen pregnancy, and generations of impoverished single mothers.

Often, well-conceived initiatives are imported without broad community input and understanding of the unique history, character, challenges, and strengths of the region. With less than 2% of American private foundation resources being granted to rural areas, according to the Chronicle of Philanthropy, fundraising in Appalachia is doubly challenged.

Health clinics, job training, and new business ventures require not only financial resources, but also specialists such as planners, financial experts, architects, teachers, health professionals, and lawyers. Entrenched, stagnated public policy has not generated sustainable economic alternatives, which frustrates individuals, communities, and grassroots groups poised for significant positive change. Engaging community members in a hopeful and sustainable way is identified as a challenge in every community.

Throughout the twentieth century, the Southern Appalachian Mountains were a major player as developed and emerging economies have struggled to balance the broad public need for cheap reliable electricity with the necessity of good jobs and a healthy environment. Even the first six years of this century brought a boom with a burst of Chinese consumption paired with high gas prices. In her book Coal: a Human History, Barbara Freese offers an in-depth explanation of how the development of the Appalachian coalfields in the early twentieth century influenced modern corporate structure, the organization of industrial unions, and the environmental movement. Moving to the present, Freese argues that increased centralization of the electrical grid over the past fifty years has relegated coal to the attic of our national consciousness:

From the consumer’s perspective, coal has virtually disappeared – its sooty black chunks magically transformed into squeaky clean electrons. Now that nine out of ten tons of the nation’s coal vanishes into power plants, many Americans can harbor the illusion that coal is no longer a major energy source or a big environmental threat, even while the nation burns more of it than ever.

Thus, Appalachia has in this century suffered an environmental spill 30 times the size of Exxon Valdese and you never heard about it. Thus, West Virginia has its own Bopal chemical disaster 30 years ago and you never heard about it.

The upside-down model of community and economic development in much of Appalachia ignores compelling evidence that the strength of a region’s economy and its communities is not based on infusions of outside capital, the existence of industrial parks, or a vast pool of low-wage labor. Rather the building block is social infrastructure — the web of civic society, underdeveloped in the mountains, that binds individuals together in healthy, democratic relationships and creates a common sense of purpose on which good decisions about the future can be based.

Citing both global environmental concerns and the decreasing amount of coal in the ground, Eller is among those who want to wean Appalachia from its historical dependence on coal. In his keynote address to the East Kentucky Leadership Conference in April 2009, Eller said he saw “growing potential for local and regionally coordinated tourism.” The region could have “cultural tourism based around folk traditions, music or arts and crafts.” Eller also says the region could support summer camps, mountaineering sites and weekend escapes for young professionals who live in Kentucky’s cities. “We have to do two things,” he said: “Look for other alternatives [to coal mining] and stop limiting those alternatives by destroying the terrain.” Eller maintains that “public resources have not gone toward looking for an alternative to coal mining” for economic development in Eastern Kentucky.

The emerging green economy provides an alternative that can be tested in central Appalachia. The Mountain Association for Community Economic Development (MACED), based in Berea, advocates for entrepreneurship and microbusinesses with five or fewer employees as the key to the region’s economic future. MACED President Justin Maxson argues, “If you add just one job at 10 percent of the microbusinesses in Kentucky, that’s 5,800 new jobs in the state.” According to Maxson, current economic-development strategies “overlook an important swath of entrepreneurship in the mountains.” Given the natural and cultural assets of the region, the creative class theories of community cultural development for urban areas posited by Dr. Richard Florida of the University of Toronto can be transplanted to central Appalachia to rebuild communities one artist at a time.

Strong non-profits in the region will need funding through the establishment of community foundations. Central Appalachia faces, in philanthropy, a last chance opportunity to capture the some of the wealth of Baby Boomers who migrated from the area, but retain an emotional tie. That connection only rarely passes on to their children.

The essential aspect in each case will be local economic self-determination. Solutions will be built on the ground by those directly affected. As night comes to coal, daylight comes to the Cumberlands.

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Two looks at snake handling in Letcher County, Kentucky


Two looks at snake handling in Letcher County, Kentucky

By Art Menius January 14, 2012

[Update, Feb 9, 2012: “With Signs Following is a documentary film that chronicles one of the last known serpent handling churches, and its decline. It serves as a visual history of the deeply spiritual and humble people that practice this faith, as well as a narrative on the struggle ‘fringe’ religions have in maintaining their congregation in the technology era.” ]

 

Commercial cable television has addressed snake handling in Appalachia with a new series that debuted on Animal Planet on January 12, “Snake Man of Appalachia.” That a religious practice can become commercial entertainment seems rather remarkable. That the new series features my former neighbor of almost four years proves even more so.

One can watch the opening episode online, free in a fashion by watching one clip after another at http://animal.discovery.com/videos/snake-man-of-appalachia-boys-help-catch-snakes.html. This episode focuses on Letcher County, Kentucky’s Verlin Short and his 2008 arrest for snakes, followed by his redemptive attainment of a reptile license, thus finally rolling legit. The show makes it appear that it just occurred to his long time lawyer and friend to advise him to do this in 2008. Becky Johnson, my spouse, fondly remembers seeing the friendly production crew each morning at the since closed Hoboes Café in downtown Whitesburg, where she tended the plants for the town.

Becky and I lived very near Verlin Short for almost 4 years, spanning the time of the events in the episode. “Snake Man” isn’t a bad show, in that it doesn’t play up stereotypes gratuitously. It shows mountain people living in ordinary houses and setting mainstream goals and achieving them, such as making the girls basketball team at Letcher Central. It doesn’t make Verlin look weird, just different. On the other hand, “Snake Man” doesn’t explore his beliefs that deeply, but – and I suppose this fits “Animal Planet” after all – focuses on the wow factor of the snakes. The message becomes isn’t it cool that this guy was able to get out of the coal mines through his marvelous snakes that he keeps because of his unusual religion.

The debut of “Snake Man of Appalachia” focuses on the hunting and keeping of snakes, not the profound expression of unquestioning faith. Not much different from an Alligator hunter, really. This is Animal Planet. Were there a cool channel that was about religion without advocating for any religion, we would see a different show, much like the 1995 short “Those Who Believe.”

You can see “Those Who Believe” at http://vimeo.com/14453822

A young Verlin Short also appears “Those Who Believe,” which, in contrast, seeks to understand why people handle snakes as part of their Holiness church services. You see the serpents here as essential, sacred religious objects rather than the commodities in “Snake Man.” Also set in Letcher County, KY, “Those Who Believe” is a fifteen years old student film made by Derek Mullins (then 16, now an Appalshop employee) and others as part of Appalshop’s extraordinary Appalachian Media Institute (AMI). AMI pays talented mountain teens to learn media making as a means for addressing community issues. Like pretty much all Appalshop films, it permits people from the mountains to tell their stories in their own voice, their own way. The sincerity and depth of belief in signs following is what comes through from start to finish, along with the religious joy in taking up serpents.

Signs following certainly doesn’t lack for media coverage these days in print as well. The Washington Post Magazine ran an extensive article about snake handling services in West Virginia back in November 2011 that included some truly excellent photography. The Post story provides a decent overview of the history of the century old faith, places it in local context, and respectfully describes the efforts of an aging group to keep their religion alive in the face of demographic and generational change.

The best known book about signs following remains Salvation on Sand Mountain from 1995 by Dennis Covington. Like “Snake Man of Appalachia,” it follows a trial. Unlike Verlin, this defendant allegedly used a church snake as a murder weapon.

As for me, I have only been called to step on serpents, not handle them. Signs following doesn’t express my faith, but in my view signs followers have the right as American citizens to practice their religion. Each of these four media makes it clear that no one is forced into the religion. In fact, many more kids leave the faith than stay with it. Those who take up serpents or drink poison know the risks. With true Appalachian fatalism, they believe they will be called to Heaven only when their time comes. This is a personal religious choice, from which less than 100 people have died in 103 years of the practice.

The state has no legitimate right to suppress signs following. If it were the throw copperheads and poison at unsuspecting strangers faith, that would be entirely different. The snake handlers offer pure undiluted faith here in America, the same as you see with the pilgrims in Mecca. “Those Who Believe” includes some graphic footage of the religious ecstasy of those called to take up serpents, for which they grab with joyous, not fearful, faces.

Mainstream America remains uncomfortable with that level of unrestrained, emotional religious expression. That, in my mind, underlies the legal suppression of signs following in most states rather than the increasingly rare death.

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