Latest news with #Appalachia
The Guardian
11 hours ago
- Entertainment
- The Guardian
Arson, sex shops, livestreamed funerals: Wednesday's Karly Hartzman on the wild stories in her southern gothic rock
To step into Karly Hartzman's home is to see the contents of her brain shaken out. There is a fireplace mantel covered in dolls and figurines; a wooden rack filled with cassette tapes; an old doll's house filled to the brim with fabric scraps; a few overflowing bookshelves. As the 28-year-old leader of the indie-rock band Wednesday greets me at the door, she realises a few new additions have just landed through the letterbox, some books about the history of hardcore and punk: she has been listening to both a lot and is eager to educate herself. Hartzman is a collector by nature, a habit that is also at the heart of her songwriting. Equally inspired by the southern rockers Drive-By Truckers and the shoegaze greats Swirlies, Wednesday's sound combines heartfelt twang with walls of pummelling sound. Hartzman's lyrics are highly narrative, inflected with striking, gnarly details. Listen to the band's breakthrough album, 2023's Rat Saw God, and you will hear about urine-coloured soda, roadside sex shops, accidental arson and teens getting high on Benadryl. The band's forthcoming sixth album, Bleeds, refines their sound, never letting the raw noise overshadow Hartzman's knack for melody and unique stories. 'This is what we've been working towards this whole time,' she says. She calls the band's singular sound an 'unavoidable' result of the members' individual tastes. By now, she says: 'We know what a Wednesday record sounds like, and then we make it.' Although Pitchfork declared Wednesday 'one of the best indie-rock bands around', Hartzman keeps a low profile in her home town, the small North Carolina city of Greensboro. She recently moved back from nearby Asheville, where she lived on a bucolic property known as Haw Creek that was home to various local musicians. In person, Hartzman is thoughtful, expressive and more reserved than you might expect from her riotous performances. As we drive around Greensboro, she points out her teenage haunts, such as the cafe she used to frequent when she skipped school. As a kid, she resented being told what to do, but never let that get in the way of an education. 'I was very methodical,' she says about cutting class. 'I was writing and reading and doing work – I was doing my own school, on my terms.' She credits her taste in music to a few crucial sources: her parents, who played Counting Crows and the singer-songwriter Edwin McCain around the house; her older sister, who got her into Warped tour punk (Paramore were an early favourite); and a longtime friend who introduced her to shoegaze and post-hardcore bands such as My Bloody Valentine and Unwound. When she started college, Hartzman admired her friends who played in bands, but she wasn't interested in taking music lessons. Then she saw the band Palberta – a playful indie-rock trio whose members traded instruments every few songs – and felt inspired by the messy, uncomplicated style of playing the three women shared. 'They were doing something that sounded awesome and very easy,' she says. 'After that show, I bought my friend's guitar off him.' Hartzman's earliest recordings were solo; she got a formal band together only when her sister asked her to perform at her birthday party. From there, Wednesday rotated through a few members before settling into a stable lineup: Xandy Chelmis on steel guitar, Ethan Baechtold on bass and piano, Alan Miller on drums and MJ Lenderman on guitar. They started playing house shows and tiny spots with friends' bands and folks they met in local DIY scenes. Wednesday's shows could be raucous, rowdy affairs, but their home lives centred around the quietude of Haw Creek, surrounded by streams and open fields – the kind of place where they could go fishing in the morning, then practice in the living room later on. 'We lived on acres of land,' she says. 'Nothing will ever beat that.' Hartzman lived at Haw Creek with Lenderman who, alongside his work in Wednesday, found meteoric success last year for his fourth solo album, Manning Fireworks. He and Hartzman started dating before Lenderman joined Wednesday – Hartzman was a fan of his music, playing it over the speakers at the coffee shop where she worked before they met. After six years together, they broke up amicably in 2024. Hartzman chalks it up to the usual big-picture differences that emerge in adulthood. In your early 20s, she says: 'You're just like: 'Oh, I like this person, I'll date them.' But then, when you're 28, you have to be like: 'Does this person have the same intentions in life?'' Hartzman was interested in marriage and kids; Lenderman was not quite on the same page, she says. But, from the beginning, 'I've known, even if we're not romantic for ever, we're creative collaborators for ever'. Lenderman will be on future records; while he won't perform on their next tour, Hartzman insists it's nothing personal; between Wednesday and his solo career, his touring schedule has been relentless and 'he needs a break'. The songs on Bleeds were written before the breakup, although some of them hint at the deteriorating relationship. The Way Love Goes started as an apology for not being fully present. 'When I wrote it, I was like: 'But I'm gonna fight for this,'' she says. 'Of course, by the time we recorded it, that was not the situation.' Wasp, meanwhile, describes the bitter self-recrimination she felt towards the relationship's end. 'My body just kind of gave up on me,' she says. 'I was really dissociated because I didn't want to break up, but I was having to accept that we needed to.' Bleeds is haunted by images of loss and violence: a washed-up body, a livestreamed funeral, a car crash, a knife fight. Hartzman doesn't see it necessarily as a dark record; she sees it as chasing good stories and telling the truth. 'Death is around at every point,' she says. 'If you don't acknowledge that, you're lying.' She is drawn to mixing the cartoonish and the creepy: 'I think that's just a southern gothic attitude,' she says, describing her taste as 'a little bit scary, but there's a heart of gold underneath'. Much of Hartzman's songwriting draws on her memories of youthful debauchery, like sneaking out late then teaching Sunday school. She is also a keen collector of stories, keeping an eye out for strange characters and unbelievable happenings. 'If someone has a story where they're, like: 'Oh my God, this was so embarrassing,' or: 'This is kind of a secret,'' her ears prick up. (She always asks for permission and changes names and identifying details to protect the innocent.) From Bleeds, the drowning victim on Wound Up Here (By Holdin' On) comes from a friend's story from his days as a rafting guide in West Virginia; Carolina Murder Suicide was inspired by a true-crime podcast. But Hartzman's songs still feel intimate, told in first person through a singular lens, treating their subjects with compassion. Rat Saw God took the band to new heights, landing on many publications' year-end lists. But as she looks towards the release of Bleeds, Hartzman is committed to keeping her personal life steady. It helps that while 'the shows have changed a lot' – getting bigger and bigger – 'my life at home has been so consistent'. This year, she ditched her smartphone, got off social media and built herself a charmingly retro, Y2K-style personal website. The apps were zapping her focus; then, a profile of Lenderman was published with details of their breakup. 'People were putting their own two cents on that shit,' she says with an eye roll. 'I was like: oh, it would feel so good to get off that.' She has changed how she listens to music, too, jettisoning the algorithm to favour recommendations from friends and blogs. 'It's been so rewarding.' On her site, she shares monthly journal entries and roundups of the music and media she is enjoying. She answers reader-submitted questions about everything from learning guitar to her relationship with religion. She also has a PO box where listeners can send letters; she replies to as many as she can. It's important for her to be in touch with the people who love her music, she says, and she wants to give them something special. But this method represents, for her, a 'closeness on my own terms' – a way of preventing the always-on burnout faced by many musicians on the rise. Her ability to tune out industry pressure surprises even those closest to her. Lenderman 'is always wondering: 'How do you not feel that kind of pressure of expectation?'' she says. 'But my need to write is so important to me, more than any reception.' As well as making her own merch from customised thrift store T-shirts, in her precious downtime, Hartzman has been writing and spending time with local friends – they are fond of a laundromat-cum-bar called Suds & Duds. She has never lived outside North Carolina – and doesn't plan to. 'I love it,' she says. 'It feels like home to me. And that feeling is addicting.' Folks here know her face because they watched her grow up, or grew up alongside her, not because her band recently played The Late Show (although she did get recognised recently by a Wednesday listener at her grandmother's retirement home). Most of what happens in her songs 'could happen anywhere', she says. 'I'm not trying to say, necessarily, that I had a different upbringing or lifestyle than most teenagers.' But she is telling her story truthfully – 'and, in reality, it happened here'. Hartzman understands why other artists might move to a major city to find artistic success, but she is glad to be rooted in such a distinctive place. 'I don't like the feeling of: 'I'm in the cultural centre of the universe and what I do here will pervade the rest of culture,'' she says with a shrug. 'I like the idea of coming in from the edge.' Bleeds is released via Dead Oceans on 19 September
Yahoo
18 hours ago
- Yahoo
Visit Southern West Virginia and The UPS Store to hold 'Almost Heaven' treasure hunt on West Virginia Day
GHENT, WV (WVNS) — Explorers will have the opportunity to search for a hidden treasure chest while seeing the sights of southern West Virginia with an 'Almost Heaven' treasure hunt. According to a press release, a regional treasure hunt, with a $500 cash prize for the person who finds the hidden chest, will be held by Visit Southern West Virginia and the UPS Store on Friday, June 20, 2025, which is also West Virginia Day. Greenbrier River named USA Today's 'Best River for Tubing' in the United States People who participate in the treasure hunt will have the opportunity to find a real treasure chest hidden at an outdoor location in southern West Virginia. The press release stated that clues will be released on the Visit Southern West Virginia and the UPS Store – Beckley's Facebook pages each Monday, Wednesday, and Friday to give participants hints to the location of the treasure chest. According to the press release, people who take part in the treasure hunt can tag #visitwv or #almostheaventresurehunt on social media or by submitting photos here. Marshall University researchers ID new prehistoric sea creature: Nearly 40 feet long with 'crushing' teeth The press release stated that the treasure hunt is open to locals and visitors, no matter their ages, and it is free to participate. The event will allow participants to explore trails, public parks, and small towns in the southern part of the Mountain State. According to the press release, no digging will be a part of the treasure hunt, and people are advised to follow park rules. People can follow and take part of the treasure hunt on the Visit Southern West Virginia and UPS Store's Facebook pages. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
New York Times
a day ago
- Health
- New York Times
In Appalachia, a Father Got Black Lung. Then His Son Did, Too.
Denver Brock and his son Aundra used to spend early mornings hunting rabbits in the wooded highlands of Harlan County, Ky. But they don't get out there much these days. They both get too breathless trying to follow the baying hounds. Instead, they tend a large garden alongside Denver Brock's home. Even that can prove difficult, requiring them to work slowly and take frequent breaks. 'You get so dizzy,' Denver Brock said, 'you can't hardly stand up.' The Brocks followed a long family tradition when they became Appalachian coal miners. For it, they both now have coal workers' pneumoconiosis, a debilitating disease characterized by masses and scarred tissue in the chest, and better known by its colloquial name: black lung. Mr. Brock, 73, wasn't all that surprised when he was diagnosed in his mid-60s. In coal mining communities, black lung has long been considered an 'old man's disease,' one to be almost expected after enough years underground. But his son was diagnosed much younger, at just 41. Like his father, he has progressive massive fibrosis, the most severe form of the disease. And today, at 48, he's even sicker. When he followed his father into mining, he thought he was entering a safer industry than the one prior generations had worked in. By the 1990s, safety standards and miner protections had nearly consigned the disease to history. Want all of The Times? Subscribe.
Associated Press
a day ago
- Entertainment
- Associated Press
JUNETEENTH: 'TALES OF KOEHLER HOLLOW' WINS GOLD 2025 IBPA BILL FISHER BOOK AWARD BEST FIRST BOOK NON FICTION
Co-Authors Naomi Hodge-Muse and Christopher A. Brooks Celebrate Award on First Anniversary of Juneteenth Release RICHMOND, VA, UNITED STATES, June 19, 2025 / / -- On the 1st year anniversary of its Juneteenth release we are pleased to announce 'Tales of Koehler Holler: An African American Family in Rural Appalachia,' was recently awarded the Gold 2025 IBPA Bill Fisher Book Award for Best First Book Non-Fiction. The story as told by Naomi Hodge-Muse, was co-written with best-selling international biographer Christopher A. Brooks, a foremost author of numerous publications focusing on the African continental and Diasporan experience. The IBPA Book Awards are administered by the Independent Book Publishers Association (IBPA), the largest book publishers' association in the US with over 3,500 members. The book is available on Christopher A. Brooks stated: 'It is truly an honor to be acknowledged in this way. Bringing the story of the once enslaved Amy Finney and her family to a larger readership was and continues to be a very rewarding experience. I share this award with Naomi and her ancestors for enabling me through the written word to tell their extraordinary story. And I am also grateful to my publishers at Unsung Voices Books for believing in this story.' Naomi Hodge-Muse stated: 'What a thrill it is to receive this award. And what a thrill it was to work with Christopher to bring my family's story to life. The fact that it resonated in such a way fulfills my hope that there is now a better appreciation of what it was like for an African American family during those years.' Amy Rath, Publisher of Unsung Voices Books stated: 'We're extremely proud to see Naomi's and Christopher's work commended with the Bill Fisher Award. The committee recognized the importance of the story of the Finney/Hodge family as well as the authors' skill in crafting it. We're honored to have published it as the cornerstone of our catalog.' About 'Tales of Koehler Hollow:" At the core of 'Tales of Koehler Hollow' (pronounced 'holler,' or 'holla') is the family matriarch Amy Finney (1850 – 1936), a formerly enslaved woman in southwest Virginia (modern-day Henry County). In 1890. Amy purchased land about one mile from the main house in which she had once worked in bondage, thus founding a family legacy that continues to this day. This area outside of Martinsville, Virginia, would come to be known as Koehler, and the valley where Amy's property is, became known as 'Koehler Hollow.' Amy's great-great-granddaughter, Naomi Hodge-Muse is the current owner of the Koehler Hollow homestead and its surrounding land, In this book, Naomi recounts family lore from Amy's time as a child to the present—from Reconstruction and the early years of emancipation through the Depression, the 1950s and turbulent 1960s and 70s. This provides the reader with a rare glimpse of life in black Appalachia over the last 150 years. Through the narratives, the characters come alive. We see Amy's son, George Finney (known as 'Poppa') and his wife, Rosa ('Momma Rosie') build a stable and sustainable life in the holler for their children, grandchildren, and great-grandchildren. About Naomi Hodge-Muse: Naomi Hodge-Muse has served as the president of the Martinsville chapter of the NAACP, and Voter's League and was appointed by two Virginia Governors to the New College Institute Board of Directors. Hodge-Muse continues a family tradition of community activism and leadership in the Commonwealth, which has included detailed historical research. She is a proud graduate of Virginia Union University. 'Tales of Koehler Hollow' is her family's story and a history of the African American experience in Appalachia over the past 150+ years. Tales of Koehler Hollow is her first book. About Christopher A. Brooks: Christopher A. Brooks is a professor of anthropology at Virginia Commonwealth University. He has produced numerous award-winning publications focusing on the African continental and diasporan experience. Brooks, an internationally recognized biographer, has authored a series of books exploring the HIV pandemic in Africa and America. His most recent book in that series is 'Dual Pandemics: HIV and the Coronavirus in Several Kenyan Communities' (Linus 2024). He is also the author of 'Roland Hayes: The Legacy of an American Tenor' (with Robert Sims). About Unsung Voices Books: Unsung Voices Books publishes books to know other people the world over. Their publishing program centers around perspectives from writers from marginalized and underrepresented groups and ways of life and stories that enrich our understanding of the places that make up our world.' ISBN: 978-1-964495-00-2 Sheryl Feuerstein EastWest Media +1 310-650-8668 email us here Visit us on social media: LinkedIn Instagram Facebook Legal Disclaimer: EIN Presswire provides this news content 'as is' without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the author above.
Yahoo
2 days ago
- Science
- Yahoo
Giant salamander fossil unearthed at Gray Fossil Site
JOHNSON CITY, Tenn. (WJHL) — Researchers at the Gray Fossil Site have discovered the remains of a giant salamander that once called prehistoric Appalachia home. According to a news release from East Tennessee State University (ETSU), the giant plethodontid salamander was strong-jawed and possessed a powerful bite. New guidance on hemp-derived cannabinoid products: What will change on Jan. 1, 2026 The species, Dynamognathus robertsoni, was about 16 inches long, making it one of the largest salamanders to ever exist in the area. In the present day, Northeast Tennessee and all of Southern Appalachia are teeming with a wide variety of salamanders. Among those, researchers say, are dusky salamanders, a stream-dwelling species that measures about seven inches long at their largest. Dusky salamanders are related to Red Hills salamanders, a large species that lives underground with a worm-like body and small limbs. 'Finding something that looks like a Red Hills salamander here in East Tennessee was a bit of a surprise,' Assistant Collections Manager Davis Gunnin stated in the release. 'Today, they're only found in a few counties in southern Alabama, and researchers thought of them as a highly specialized dead-end lineage not particularly relevant to the evolution of the dusky salamanders. Discovery of Dynamognathus robertsoni here in Southern Appalachia shows that these types of relatively large, burrowing salamanders were once more widespread in eastern North America and may have had a profound impact on the evolution of Appalachian salamander communities.' Guinn described Dynamognathus robertsoni as 'the largest plethodontid salamander and one of the largest terrestrial salamanders in the world.' Assistant Collections Manager Shay Maden said the name of the newly discovered salamander comes from its bite and also pays homage to the volunteer who found the first specimen at Gray Fossil Site. 'This group of salamanders has unusual cranial anatomy that gives them a strong bite force, so the genus name – Dynamognathus – Greek for 'powerful jaw,' is given to highlight the great size and power of the salamander compared to its living relatives,' Maden said. As for 'robertsoni,' that name comes from Gray Fossil Site volunteer Wayne Robertson. According to ETSU, Robertson discovered the first specimen of the salamander and has sifted through more than 50 tons of soil containing fossils since 2000. Guinn, Maden and other researchers from the Gray Fossil Site and ETSU published their findings in the journal Historical Biology. The other authors included: Director and Professor of Geosciences Dr. Blaine Schubert Head Curator and Associate Professor of Geosciences, Dr. Joshua Samuels Museum Specialist Keila Bredehoeft Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
