There is nothing quite like a piping hot slice of pizza topped with a flavorful sauce and dripping in mozzarella cheese. Pizza, arguably the culinary icon of American cuisine, varies widely from country to country and state to stage. While New York and Chicago are often synonymous with pizza styles - giant, flat foldable slices or deep-dish fork and knife meals - the Appalachian region has developed its own distinct pizza culture. From coal-fired crusts to inventive toppings that reflect the region's agricultural bounty, Appalachia offers a pizza experience that is as diverse as its landscape. OHIO VALLEY Located along the eastern border of Ohio, encompassing West Virginia’s Northern Panhandle and moving into Pittsburgh, Pennsylvania, a much-beloved style of pizza was created that often draws ire from those not local to the area. Ohio Valley-style pizza—sometimes called Steubenville style—has a thick, crunchy base topped with tomato sauce and baked. Once the rectangular pizza is removed from the oven, it is topped with provolone cheese and your choice of pepperoni, mushrooms or banana peppers. This process was made famous by DiCarlo’s Pizza, which has locations throughout the region. The pizza is sold by the square and is at its best when enclosed in the cardboard box for just a minute or two to let the hand-grated cheese gently melt and warm the toppings. BRIER HILL In one small neighborhood in Youngstown, Ohio, a unique style of pizza reigns supreme. Brier Hill Pizza, named after the Italian-settled neighborhood, is inspired by the Basilicata region of Italy. The pizza is a more rustic, home-style recipe that includes bready dough, a heavy helping of thick “Sunday” sauce, bell peppers and Romano cheese in lieu of mozzarella. Pizzerias throughout Northeastern Ohio began offering this style of pizza in the 1970s, though the tradition likely originated during the Great Depression when families used government-issued flour to make bread and canned their own sauce made from peppers and tomatoes in their gardens. DAYTON, OHIO Thin, crispy, salty, and cracker-like are the words best used to describe Dayton, Ohio, style pizza. The cracker crust is dusted on the bottom with cornmeal. It is then topped with a thin layer of tomato sauce. Finally, toppings are piled high and spread to the very edge, leaving no outer crust. In the same vein as Midwestern-style pizzas, which are square-cut, the Dayton pizza style follows suit. The finished pie is cut into very small, bite-size squares. It is similar in style and often compared to St. Louis-style pizza, which features a thin, cracker-like crust topped with tomato sauce and Provel cheese. It is also cut into squares. ALTOONA, PENNSYLVANIA Altoona-style pizza is not a standout for its crust, sauce, or even how it is cut. Instead, it is known for its cheese. While it’s common to see mozzarella or even provolone topping pizzas, the Altoona area takes it a step further. Altoona-style pizza is a Sicilian-style pizza with a thick crust topped with green bell peppers, salami and American cheese. It likely started as a Velveeta-type pasteurized cheese product and is now more commonly a yellow American cheese. The Altoona Hotel created the style more than 50 years ago, and it continues to be sold in squares at various other restaurants in the area. OLD FORGE, PENNSYLVANIA This Northeast Pennsylvania town claims it is the pizza capital of the world. In 1926, Ghigiarelli’s created a rectangular pizza that defined the Old Forge style that numerous restaurants in the area now serve. A light, crisp crust defines the Old Forge style and can be red or white. The red pizza features a sweet tomato, diced onions, and a blend of cheeses that may include mozzarella, American and cheddar. Meanwhile, the white pizza is stuffed with a layer of dough on top and bottom. The top is covered in herbs and onion, and the inside is filled with cheese and your choice of options like spinach or broccoli. Regional pizza variations are special because they represent the unique communities and cultures from which they originate. Each variation reflects its region's local ingredients, traditions, and culinary influences, which are evident in each bite. By celebrating local flavors and culinary traditions, these pizzas not only satisfy hunger but also tell a story of community pride, cultural heritage, and culinary innovation. They bring people together, foster a sense of belonging, and serve as a delicious reminder that makes each community unique.

The Waddington Brothers’ credo is “Finding inspiration in every tune.” Based in North Dakota, the family band consists of Seth Waddington on guitar, his twin brothers, Jacob and Ethan, on mandolin and banjo, respectively, and their youngest brother, Job, on bass. The boys come by their musical abilities naturally. Long before their current band was formed, they spent the early years of their life in a band with their parents. “Our dad was the band leader, singing and playing guitar. We played together as a family from 2004 to 2011,” says Ethan. Seth, Jacob, and Ethan were joined by two of their sisters, touring the United States and Canada and performing country Gospel music. During their shows, Ethan, Jacob, and their sister, Amanda, played bluegrass music while their parents took a break. When the twins were twelve, they played in their first bluegrass festival, “Frozen Fingers,” in Minot, North Dakota. During that time, Job and Olivia were born, the two youngest Waddington children. After a few years of performing, the kids participated in the Youth in Bluegrass program at Silver Dollar City in Branson, Missouri. They were also getting noticed elsewhere, especially when Ethan won the second-place prize in the national banjo competition in Winfield, Kansas, in 2009. Growing up, the family lived a life of ranching and performing. “My dad worked on ranches in Montana, Washington, and Oregon,” says Ethan. “All of us except Job were born in Washington State,” Ethan explains. His dad would leave on weekends to tour with the family, and he began to worry that the other ranchers would feel he wasn’t pulling his weight. “He decided to start a tree service as a means of self-employment, giving him the freedom to travel when he wanted to.” But when the band stopped, the music was over. “We didn’t play music for eight or nine years,” Ethan says. “It was almost more painful to play music than not. We missed it.” Ethan and Jacob moved to Montana, where they spent the next six or seven years building log homes. Seth married and had four children, staying in North Dakota to work for his dad’s tree service. Young Job also works for the tree service. While they didn’t grow up in a bluegrass culture, the boys listened to The Darlings on the Andy Griffith Show. Seth says he later learned that real musicians in the band, The Dillards, played the Darling characters. “We all grew up watching the old shows,” says Seth. “We loved to watch Westerns, probably because our dad worked on ranches in the West. We watched Roy Rogers and Gene Autrey, and we listened to the Sons of the Pioneers every night. I could hardly get to sleep without listening to the Cool Water album. My dad even took it with us on vacation.” The boys felt music pulling at their hearts, and one night, Ethan, Jacob, and Seth discussed the idea of starting a new band. They were so serious about it that Ethan and Jacob quit their jobs in Montana and moved home to start the band. The three-piece band needed a bass player, and their first pick was Job. “He had just turned 15,” says Ethan. “Seth told him to think about it because we were going to be hard on him. Job thought about it and came back, telling us he was in.” Ethan says having Job in the band has been great for all the brothers. “We have all bonded through the process.” They formed The Waddington Brothers in 2020. “It was during the Covid pandemic, but that wasn’t too much of a setback for us, as we were just getting started,” explains Seth. “We spent a lot of time working on material.” Whatever they have been doing was working. They met Greg Cahill with Special Consensus at a festival, who encouraged them to go to the SPBGMA convention in Nashville. “It was a two-day drive for us, but when we realized there was a competition where we could play on the big stage, we decided to do it.” That gamble paid off for the band. They won first place in the international band championship at the 2023 SPBGMA awards ceremony. “We were so surprised,” says Seth. “We were just excited to go to the awards show. We can’t wait to go back to Nashville again soon.” While they were raised on Gospel and enjoyed big band swing and other forms of music, they settled into bluegrass. “We got to know the Kruger Brothers when we were younger, and they have greatly inspired us,” Ethan says. “They taught us a lot and changed the way we view music. They taught us what makes music speak to people.” Ethan says that they still connect to Western music. In addition to bluegrass, they play a few Western tunes, a throwback to watching Westerns while growing up. “There’s something romantic about the American West,” Ethan says. “We like to sing songs about tumbling tumbleweeds and such. I think that’s responsible for our sound as a band. We tend to have vocals that sound more like Western singers than Appalachian vocals.” Seth says they learned to play Western music for fun because they loved it. “When we play it in shows, people of all ages seem to connect to it.” Now, the boys hope to record soon and are looking into studio options. “We are even working on a few original songs.” Seth says they have access to some “really good” original music. My uncle is a great songwriter, and he has several songs for us to work on. We are also trying to write some of our own songs.” Seth says they enjoy listening to old music and pulling elements from it. Somehow, The Waddington Brothers retain the old sound while adding a modern twist. The band has a traditional bluegrass sound but with a unique style they have made their own. Their website says their musical style “transcends time, bringing listeners back to a place where music was more than just entertainment, but rather a way of life.” While the band is based in North Dakota, it is booking festivals nationwide—and bookings are picking up. “We have more shows booked this year than we have in the past,” Seth says. This summer, we are playing in Minnesota, Kentucky, and Arkansas so far. We’ll also be back in Silver Dollar City in May. We’ll go just about anywhere.” The Waddington Brothers are serious about their music; we think they are a band to keep in your sights. Check out their music on their website: https://www.waddingtonbrothers.com/videos.

For many, preserving and promoting bluegrass music is a mission. Such is the case with the Alabama Bluegrass Music Association (ABMA). The nonprofit organization was started in January 1996 by dedicated artists and fans to promote bluegrass music in Alabama. Their mission is fulfilled through the organization’s newsletter, BamaGrass, and an annual festival to showcase Alabama bluegrass bands. “We also attend festivals around the state to provide information on other bluegrass events in Alabama, as well as promoting Alabama bluegrass artists and to give out membership information about the ABMA,” says Mickey Dooley, president of the association. “I have been a member of ABMA for twenty years, on the board of directors for ten years, and I’ve served as president  for the past four years.” For an annual membership fee of $25, members receive issues of BamaGrass mailed to their home or online and a discount to attend the Showcase of Bands. “The proceeds help to promote bluegrass, musicians, and festivals around the state,” says Mickey. Bands that have at least one ABMA member will receive a listing on the association’s website and in the BamaGrass newsletter.” Sharon Camp is the editor of the newsletter, which is published eleven times a year. “The November and December issues are combined,” she explains. Sharon says the newsletter runs ads for festivals, bands, and mobile home dealers. “Bluegrassers love camping,” she laughs. “We also run regular articles monthly; mostly, all are bluegrass-related. We publish all upcoming bluegrass events in the state, including local jams and pickings, along with band listings.” There are currently 58 bands listed on the ABMA website.  “We also publish jams and pickings held around the state at breweries, churches, parks, town halls, historic sites, and more. That alone is a good deal for only $25 a year.” Mickey plays in the house band for the Pine Mountain Bluegrass Jamboree, a monthly jamboree held on the fourth Saturday from April through October. “It’s open for feature bands each month, many of whom are member bands from the ABMA.” Each jamboree begins with jamming at 1 p.m., an open stage at 3 p.m., and the house band playing at 5 p.m. The featured band or performer plays at 6 p.m. In June, a Pine Mountain Bluegrass and Barbeque fundraiser is held. The biggest event of the year presented by the ABMA is the annual Bluegrass Showcase, held at the Gardendale Civic Center near Birmingham. The day begins with workshops starting at 9:00 am. “We always have some great workshops,” Mickey says. “We usually have a showmanship workshop to train band front men, where folks can learn how to manage a band and generally how to conduct themselves.” Other workshops include songwriting, a workshop for promoters, how to get grant money, and insurance for performers. “There is always a lot of conversation between performers on what works and what doesn’t.” And, of course, there is music throughout the day. Bands play from 11:30 am to 5:20 pm. “There are six slots during the day, and names of bands are drawn from a hat to see who will have the opportunity to play,” says Mickey. “It’s a big deal to play because there are promoters on hand who come to see the bands. Many times, bands are hired on the spot to play at festivals and shows.” The event also features jam sessions and food trucks. “Our swap meet is always popular. People bring their instruments and other things to swap or sell.” Mickey says that the largest percentage of the Alabama Bluegrass Music Association members are musicians, but there are also plenty of fans. www.alabamabluegrassmusic.org

It’s not uncommon for people to suffer from depression or anxiety at one time or another in their lives. But the Covid pandemic shutdown affected some people much more severely than others. Becky Buller says she was one of those people whose mental health suffered during the pandemic. “As my mama used to say, I was lower than a snake belly in a wagon rut.” The Minnesota native has been at the top of the bluegrass world, with enough awards to fill a large room. But she felt stuck. “My anxiety and depression manifested itself in different ways during the pandemic. I had a new record, and I couldn’t promote it. One day, I was signing CDs to send to radio stations, and I could hardly write my name. I was in such a bad place.” Yet, in October 2020, she won the IBMA Collaborative Recording of the Year for “The Barber’s Fiddle” and the 2020 IBMA Song of the Year for co-writing and fiddling on Special Consensus’s “Chicago Barn Dance.” Her turnaround came when she was commissioned by the Fresh Grass Foundation to compose a piece for their 2023 festival in Bentonville, Arkansas. “I had a song, ‘Jubilee,’ that I started writing early in 2020 in collaboration with Aoife O’Donovan. The song was about wistful longing for mental and emotional rest.” The song laid dormant until the Fresh Grass Foundation contacted Becky. “That song was the seed that blossomed into an entire song cycle,” she says. “I am more of a songwriter than I am a tunesmith, and I liked the idea of a song cycle, although I had never written one. I listened to a couple of artists’ song cycles, including Paul Simon’s Seven Psalms.” The result of her efforts is her newest album, Jubilee, which chronicles Becky’s lifelong struggle with acute depression and anxiety. The Jubilee is a biblical term for a year of rest, restoration, and liberation, which describes what she had to go through to pull herself out of the depths of her suffering mental health. When Becky asked the folks at the Fresh Grass Foundation if she could record the piece, they not only said yes, but they offered her use of their Studio 9, in North Adams, Massachusetts, which is part of the Massachusetts Museum of Contemporary Art. The Fresh Grass Foundation operates and manages Studio 9, a state-of-the-art recording studio and venue. “They were so supportive of this project,” says Becky. “They even put us up in a hotel there.” The album was recorded in two days, September 20 and 21, 2023. Produced by Stephen Mougin and engineered by Dave Sinko, Becky says it was recorded live, with a few vocals overdubbed when they returned to Nashville. The album was mixed by Stephen Mougin at Dark Horse Recording in Goodlettsville, Tennessee. “I am so grateful to Aoife for lending her pen, her voice, and her spirit to this project. I am equally grateful for my incredible band, as they brought this music to life. Ned Luberecki (banjo), Daniel Hardin (vocals, bass), Wes Lee (mandolin), and Jacob Groopman (vocals, guitar).” Becky plays vocals, fiddle, and cello banjo on the album, which was released on May 16 at a release party at the Station Inn in Nashville before her performance there that evening. The album is a treat to listen to. After the interlude and “Kismet,” an instrumental, the song “Woman” is autobiographical, with Becky being “the woman behind the words,” as described in the lyrics about a woman chasing a thread and spinning a web of tune and rhyme, something that heals, truth to impart. “All of us have so many voices speaking into our lives. Some speak honey, and others speak poison. I am a people pleaser by nature, so I’ve had to learn how to respond to some of those voices.” “Alone” was released in early April. “I wrote that song when I was at my lowest,” she says. In “Whale,” like Jonah, Becky sings, “Something real big swallowed me whole.” Her joy is unbridled as she explains that she is trying to enjoy life, letting go to let God do her thing. “I’m so glad and so grateful to be here and to have a second chance.” The lyrics of “Whale” express that: “Now I know I only have this day to dance, so I’m making the most of this blessed second chance – telling anyone who will listen to my big fish tale about the time I was rescued in the belly of the whale.” It’s easy to hear the tension build in the instrumentals throughout the album. From “Kismet” to “Spiral” to “Descent,” there is a noticeable progression leading to the uplifting Postlude. “It came a year of Jubilee, shook the ground under my feet,” sings Becky. “I hope this music is as therapeutic for those listening to it as it was for me to write it. No matter what you’re facing right now, I pray this music carries you toward a place of peace.”

In 2016, fans of the reality TV series “The Voice” cheered for award-winning, top-charting singer Billy Gilman. America watched as he rose in the competition to eventually snag the second-place spot as the Season 11 runner-up. As part of Team Adam Levine, Gilman showed off his fondly remembered, country-steeped singing chops but also ventured into new territory as a performer. Viewers recalled Gilman due to his stunning early successes as a top-charting artist. In 2000, an 11-year-old Gilman released “One Voice,” which skyrocketed in sales. It landed on the Billboard Top 40 charts, entered the Top 20 on Billboard’s country chart, and was part of an album (also titled “One Voice”) that hit the #1 slot on the country charts. Gilman was nominated for a Grammy for that record, won an American Music Award, and received incredible success for an artist who was still a preteen. He was even named in the Guinness Book of World Records as the youngest singer to ever reach #1 on the Billboard Top Country Album Chart. Now, Gilman has revved up his career for a new phase: Delving deep into the world of bluegrass. While the Northeast is usually considered a high-population place filled with large cities, Gilman’s story reflects something different: “I did grow up very rurally.” Hailing from Rhode Island, he was raised on “a 40-acre horse farm with brooks…it was very low-key. Very simple.” Gilman said he started very early with a love for country, explaining how, at age four, he was “singing Pam Tillis karaoke.” While his early music was country, bluegrass was always in his heart as well. “I grew up with the Osborne Brothers and Ricky Skaggs,” Gilman explained. His success on “The Voice” underscores how he’s evolved by experimenting with different genres. As he showed on the program, he’s able to transition easily as a performer, doing everything from country to pop to rock. Apparently, “The Voice” actively courted the singer. “They called like 16 times in four years,” he laughed. Eventually, Gilman said yes. His performances on the show ran the gamut, from covering Martina McBride to Queen. “It was fun for me to play around with different songs, letting my voice go in different avenues,” Gilman said. With “The Voice” driving him forward, Gilman never lost sight of the dream that simmered in the background. He said he recently read Barbra Streisand’s biography, and one thing that struck him is how long it took her for things to come to fruition. “Fifteen years it took her to get a movie off the ground,” Gilman said, adding that he similarly “always kept a fire inside to do this project.” He strives today to seamlessly combine his early fan base as a child star with his newer fans who found him via “The Voice.” Many are coming along for the ride and embracing his evolution into bluegrass. While he thinks people will always respond to “country stuff and storytelling,” he’s found a perfect home in the music born in Appalachia. It simply feels “right” for who he is. “I believe in beautiful melodies…touching harmonies…I feel it [bluegrass] is truer to country bones than what country is right now,” he explained. Gilman has released several singles, with a full album hopefully slated to drop in mid-April or May. Since taking that turn down the lane that leads to bluegrass, he’s been embraced by people such as Rhonda Vincent, who recorded the song “That’s Bluegrass to Me” with him. They debuted it at the Ryman Auditorium last year. Gilman said he suspects the positive reception is due to listeners truly sensing where his heart is. “It’s working; people are believing in it,” he explained. I’m a big believer in truth. I always had a low tolerance for BS and lying. Any time I do a record, it has to come from a place of truth.” He believes his warm reception from the bluegrass community is due to the sense of respect and authenticity he insists upon. He hopes it continues to propel his career. “I think they see I have the utmost respect and want to create longevity. It’s the sincerity of the transparency that I think works.” He added, “I’m a bad faker, and that’s what scared me about ‘The Voice.’” As it turned out, Gilman discovered—after 16 attempts to get him onboard—that there was a way to experiment with genres and styles while still being true to himself. He hopes to bring something new to bluegrass over time, to be part of a less closed-off movement that is more about welcoming alternative people—and views—to a genre that’s often been slow to change. Mountain music is always known for its deep reticence to change, but Gilman sees an opportunity for people from all walks of life to enter the fold without disrupting the existing deep traditional roots. “I definitely – with the respect of the community of bluegrass and Americana – want to push the envelope with the utmost respect,” Gilman said. When asked where he sees himself in a decade, Gilman’s reply was loaded with a sense of gratitude. “I hope to be still taking this in,” he said. “Enjoying what is being given back to what I’m giving out. I want to stay in this lane as long as they’ll have me,” he added.

Hot dogs are entrenched in America’s culinary history as an iconic ballpark, picnic, and cookout favorite. While hot dogs are often associated with iconic cities like New York and Chicago, they have also found a place in the hearts and palates of Appalachians, who have put their unique spin on classic food. In Appalachia, hot dogs are more than just a convenient meal—they are a cultural phenomenon. These hot dogs feature regional variations in toppings and condiments, each reflecting the local flavors and traditions of the area. West Virginia The West Virginia-style hot dog is one of the most iconic Appalachian hot dog variations. In this rendition, a weenie is nestled in a soft, steamed bun and topped with chili, mayonnaise-based coleslaw, yellow mustard, and raw white onion. The chili—sometimes called chili sauce or just sauce—is a thick, meaty sauce that can be sweet or spicy. North & South Carolina The Carolina-style hot dog also draws on the chili, slaw, mustard, and onion combo, but more attention is paid to the wiener itself. Bright Leaf brand hot dogs are an iconic red hue. “This frank is a true old-fashioned beef and pork hot dog made the same way since 1941 when we started!” reads the website. “These franks were dyed red to distinguish themselves as a genuine Southern delicacy and stand out among the competition. Today, the tradition is so strong that many locals won't even consider a brown hot dog.” Tennessee Boar’s Head published a recipe inspired by the local barbecue scene in Memphis. The Memphis hot dog features a beef hot dog wrapped in bacon, paired with Tennessee-style barbecue sauce, and covered with shredded cheddar cheese and chopped green onions. Kentucky Boonedogs Bar and Restaurant in Lexington makes a “Hot Brown Dog,” which doubles down on its Kentucky roots. The hot brown sandwich is a broiled, open-faced turkey, bacon, tomato, and cheese sandwich that originated at the Brown Hotel in Louisville. The hot dog is made with country ham, turkey, Mornay sauce, cheddar jack, bacon, tomato, Parmesan cheese and chives. Ohio Ohio is home to two distinct hot dog styles, according to the National Hot Dog and Sausage Council. Cleveland has “The Polish Boy,” topped with French fries, barbecue sauce or hot sauce, and coleslaw. It can also be topped with brown spicy Dijon mustard. Cincinnati offered a Cincinnati-style chili dog topped with chili sauce and a mound of grated cheddar cheese—just like the famous Skyline Chili “three-way” spaghetti. Alabama In Birmingham, the “Special Dog” is well-known at Gus’s Hotdogs and features yellow mustard, onions, and sauerkraut. It’s topped with a “special” sauce, typically a beef-based sauce with various spices. These hot dogs were first crafted by Greek immigrants who came to Birmingham from New York and Chicago in search of work and put their spin on the hot dog to differentiate it from a more standard New York version. Georgia One pharmacy in Columbus created a hot dog that is the only one on the list to require a fork and knife. Maybe a spoon. The Scrambled Dog, created by Dinglewood Pharmacy, starts with a chopped-up hot dog on a bun smothered in chili, pickles, diced onion, and a layer of oyster crackers. Optional toppings include relish, cheese, or sour cream. Required accompaniments include an eating utensil. The pharmacy reportedly sells around 600 Scrambled Dogs per week to this day. Mississippi At South Miss Hotdogs and Handpies in Petal, there are a number of hot dog variations on the menu. The state namesake hot dog, though, “Mississippi Crack,” includes crack dip made of cream cheese, ground sausage, Rotel canned tomatoes, and chilies, and topped with crispy onions for extra crunch. The term “Mississippi Hot Dog” also refers to a beginner violin song often used to teach children the instrument. From homemade chili and cheese sauces to spicy relishes and pickled vegetables, there's no shortage of creative ways to dress up a hot dog in the mountains. Each regional variation offers a unique twist on the classic comfort food, reflecting the diverse flavors and traditions of the Appalachian region. In an area known for its strong sense of community and hospitality, hot dogs serve as a delicious reminder of the shared bonds that unite us all. Whether enjoyed at a local diner, a family cookout, or a community festival, hot dogs bring people together, fostering connections and creating lasting memories.

The two halves of Illinois-based Americana duo The Bashful Youngens had never met before but immediately recognized a sort of magic that happened when they made music together. It was happenstance, but they chanced upon what appeared to be a perfect fit. “We’ve grown more fond of this story over the years because the more we think about it after telling it, the more it seems it was destined to happen,” explained “Youngen,” Carrie Chandler. “We both grew up about only 20 minutes from each other in neighboring small central Illinois towns. It wasn’t until a college party at a mutual friend’s house that we actually met, and just so happened to be in the same room when a guitar was presented. I started playing a song on it that Aaron knew really well, and somehow, we both ended up playing and singing it at this party.” “We could tell right away that our voices just kind of seemed to click,” she said. “So, we figured we’d see what we might be capable of. We started learning covers and hit up open mic nights around Champaign after that, eventually writing our own tunes, getting a full band to strengthen our sound, and recording and releasing material.” More new music – which is self-described on the band’s website as falling “somewhere between modern folk and alt-country” – is forthcoming. “We are currently in the studio working on a new album to be released later this year,” Chandler said. “We’ve been releasing singles and video sessions more recently. It’s taken us a few years to get back into the studio for another full-length project, so we are excited to see it come to life and eventually share it with everyone upon completion.” She explained how they have “been laying low on shows as we focus on finishing this album, but are looking forward to getting back at it this summer, so stay tuned for some more dates.” Chandler and her performance partner, Aaron Short, have background stories that might seem familiar to others who have devoted their lives to music. For Chandler, becoming a performer was an evolution; for Short, it was more of a spark of inspiration. It was a moment in time. “I grew up with a piano and organ in the house,” Short explained. He said his mom played the organ at church on Sundays. When bored, he’d sometimes “goof off” on the ivories, but he remembers thinking he was “too cool” for the piano lessons his mother suggested. It’s something he wishes he could “go back and slap myself for.” Then…something changed. He had an unforgettable moment because of Nirvana. “I never really caught the bug to learn any instrument until I was about 13, and a friend at a sleepover started playing ‘Smells Like Teen Spirit’ on his acoustic guitar,” Short reminisced. “I thought it was the coolest thing I’d ever seen anyone do.” “I used all of my savings to get a guitar from a local shop that had closed down shortly after that, and then used a well-timed, month-long disciplinary grounding from my folks to teach myself as much as I could and practice all the time,” he continued. “I never really thought about playing in front of anyone, let alone singing on a stage of any kind, until I met Carrie. I guess I needed someone else to lean on to get me out of my shell and start performing in that capacity.” Chandler also recounts her lifelong love affair with music. “I’ve been heavily involved in music in one form or another since I can remember,” she said. “My parents were very encouraging of pursuing the arts, and I was naturally drawn to that more than sports or other extracurriculars. I remember as a young kid writing my own little songs in a journal with a melody in my head far before I knew how to play an instrument.” Her grandmother used to play piano as well, and Chandler still carries that influence with her: “That same piano now resides at my house and is the main tool for writing and teaching lessons.” She took some music lessons on both piano and guitar, but the lessons she really stuck with were for vocals and drums. “I dedicated a lot of my time in middle and high school to drumline and chorus and was convinced I would move on to play on a drumline in college until a back injury my senior year of high school forced me to part ways with that dream,” she said. “I picked up a guitar a year later at 19 and started trying to write my own songs.” “The rest is history, so they’d say,” she added. Chandler said The Bashful Youngens have enjoyed the warm embrace of the Americana music world. “Most of the people we’ve been lucky to be around in that community have just been very supportive, engaged and willing to help without hesitation,” she explained. “And it usually goes beyond music. Most of these folks are small business owners in the area or have other sets of skills that get shared when needed.” “It’s unlike anything I’ve experienced,” she said. “Specifically, the Champaign-Urbana scene. I’ve heard a few people who have left this area talk about how much they miss the community aspect they experienced here.” While she compliments her home area, Chandler recognized it might not be special in that regard; she’s seen the same support networks in places across the country where The Bashful Youngens travel for gigs. “That’s the type of folks this kind of music attracts, I think, that’s why maybe it’s a feeling so universally experienced,” she said. Feature Photo by Anna Longworth

A bluegrass band that takes its name from a root vegetable can’t be all serious. But it’s not just the playful attitude of The Ruta Beggars that makes people take notice. The band, formed by Berklee College of Music students during their first week on campus, is known for sophisticated harmonies, robust instrumental solos, and incorporating country swing and big band influences in their highly entertaining sets. “The selling point for our live show is not just the music being great,” says guitarist and founding member Micah Nicol. “The thing that we really specialize in is creating a show that people will leave feeling filled up and full of happiness and full of joy, something that people can really latch on to and relate to.” It’s a busy time for the band. Work is underway on a new album, their tour schedule is filling up, and two of the band’s original members, mandolinist Ariel Wyner and fiddler Sofia Chiarandini, have left. New to the band are Sam Stage and Jean-Baptise Cardineau on mandolin and fiddle, respectively. “Our two new members are just killer shredding instrumentalists,” Nicol says. “We definitely see this as the opportunity to celebrate the things that we've done well in the past that we want to continue to keep as a hallmark and as a time to explore what the two new people add.” Banjoist Trevin Nelson, another founding member, and bassist Noah Harrington, a long-time band member, round out the group’s current configuration. All the Ruta Beggars, past and present, are graduates of the Berklee College of Music in Boston. Because the first question for the band is, invariably, “What’s with the name?” The Ruta Beggars include a brisk theme song in nearly every show that offers an entertaining explanation. “But the shorter and much less interesting version of that story is we were just looking for ‘roots,’” says Nicol. “We were part of the American Roots Music Program at Berklee. And so, we were trying to find a root vegetable pun, and The Ruta Beggars was the best we could come up with. We didn't want to be The Carrots or something like that.” Every band seeks to create its own identity, but that can be a challenge working in a genre rooted in tradition. Nonetheless, Nicol says the Ruta Beggars have attracted a diverse following. “We appeal to those that are sort of huddled around the fence between traditional and progressive bluegrass. We've had a lot of folks who have said to us, ‘Man, I usually don't like traditional music, but you guys are awesome.’ Or a traditionalist will come up to us and say, ‘I usually don't like more progressive bluegrass bands, but you guys are different.’ I’d say we focus a lot on the groove of bluegrass and finding music that makes people move. Our vocal harmonies have taken a lot of influence from swing. And we've all been fans of the Mills Brothers. So, we tend to include some swing songs in each of our sets.” Each member has a unique background. Nicol is from Wapakoneta, Ohio—the birthplace of astronaut Neil Armstrong—and from an early age, Nicol sang harmony with his father at jams. “I grew up playing mandolin at around the age of three and then banjo and fiddle and bass and, eventually, guitar and piano. And growing up, I was going to jam sessions in town and then bluegrass festivals in the summer.” Nicol never had a music lesson before college. And he learned to read music by studying the Internet. “I think I auditioned at maybe 20 schools,” Nicol explains. “I was looking at a lot of different programs, even math programs, straight-up engineering programs, and some musical theater programs. But the thing that drew me to Berklee was that I had seen what they had done with other bluegrass roots musicians. And I wanted to be a part of that.” In addition to being an accomplished three-finger and clawhammer banjo player, Nelson, originally from Omaha, NE, is a certified yoga instructor who teaches health and wellness to musicians. “It's so important for musicians to do a lot of stretching and take care of their bodies,” says Nicol. “We've got these heavy things strapped around our bodies a lot of the time, and people end up with repetitive stress injuries in their hands. Because that's what we do. We perform, and we practice. So, Trevin helps us to take good care of ourselves.” In addition to playing bluegrass, bassist Harrington has an extensive background in Big Band and Bebop music. “He's been a big help getting us really dialed in on that swing jazz sound,” says Nicol. The Ruta Beggars are eager to work on a COVID-delayed album and resume a full tour schedule. And while they’ve confronted challenges and changes, their affection for their fans is constant. “I'd love for people to know that we appreciate their continued support,” Nicol says. “Even through personnel changes--and through the world changes that we've all experienced in the last number of years--we deeply appreciate our fans. We couldn't do it without them.”

In 1973, a group of forward-thinking folks concerned about the risk of losing their cultural heritage came together to form the Augusta Heritage Center. “They were concerned that there was not a structure in place to protect that heritage,” says Seth Young, the executive director of the Augusta Heritage Center. “Without that, the knowledge existed only in people’s heads. There was no internet in 1973. If someone passed away, it would be like a library burned. Because of that, people were highly energized to form a structure for preserving their cultural heritage.” The Center now provides a way to step back and look at the broader picture. “People can look at how our culture does something, then at how other cultures do it. They can then explore the intersections of commonalities, which gives a deep and authentic experience designed to broaden the participants' horizons. Often, it is societal conditions that set the tone for art. Through our Center, people can meet the major history and culture bearers.” The Augusta Heritage Center facilitates cultural education through immersive and experiential workshops in music, craft, dance, foodways, and folklore to preserve the past while promoting cultural heritage. “We also work to build community,” says Seth. “We do that by bringing folk arts education to underserved communities, providing access to cultural experiences to those who may not otherwise have the opportunity.” The Center preserves its Appalachian heritage through an online archive of concerts, interviews, musical recordings, and oral histories. The Augusta Archive contains a wealth of cultural knowledge spanning nearly one hundred years. The living archive continues to grow as material is collected from the field and digitized. There are now almost one thousand entries, and the goal is to make the material as accessible as possible, with no barriers due to cost. The Center celebrates local talent, documents traditions, and provides a space for the community to gather and connect, establishing a more inclusive and culturally rich society. While the Augusta Heritage Center presents several concerts, workshops, conferences, and classes each year, the most notable event is the three-week immersive Augusta Summer Heritage Workshops on the Davis & Elkins College campus. “It’s a cross-pollination of sorts,” explains Seth. “We have three weeks of classes, and each week offers courses on a cross-cultural mix of music, dancing, crafts, cooking, and more. Ross is excited about this year’s classes. “The first week will be Cajun/Creole and Classic Country, where Lafayette meets Nashville. Participants can choose four classes to take during the week.” Next is Bluegrass and Vocal Week. “The vocal will have more of a world bent,” says Seth. “We’ll have folks teaching high lonesome singing and Georgia polyphonic singing. The bluegrass players enjoy listening to the chords of the singers, and some even cross over to study vocalization with our awesome teachers.” This event was recognized as the IMBA Bluegrass Event of the Year 2020. The final week is Blues and Old-Time Week. “Both styles are a wellspring of the popular styles of music we have today,” says Seth. “As a slide guitarist, it’s one of my favorite weeks.” Several guest artists will be on hand to teach classes and workshops. “Rhiannon Giddens was a student here at one time, and she came back often as a teacher,” Seth says. “Last year, we had a surprise performance by Bela Fleck. His wife, Abigail Washburn, was teaching vocals that week, and he wanted to workshop his Gershwin music. He wouldn’t let us announce it, so we just said it was a workshop with a special guest. Everyone was blown away.” Among the notables in this year’s lineup of guest artists are Greg Blake, Becky Buller, Greg Cahill, Rebecca Frazier, Tyler Grant, Murphy Henry, John Seebach, and others. Seth has been involved with the Center since childhood when he took a mini class in blues harmonica there as a child. He became more interested in music during high school and went to Augusta during his teen years to learn more about the music in the region where he grew up. Before working at the Augusta Heritage Center, Seth had spent his entire career in education. “There are some challenging aspects to this job, but it’s in those moments when I get to watch an audience’s reaction that makes it all worthwhile. And to make it even better, our guest artists not only perform, but they take us through the process. It’s quite special.” www.augustaartsandculture.org

With a background in business and a passion for guitars, Thomas Ripsam found his dream job as the president and CEO of C.F. Martin and Co., based in Nazareth, Pennsylvania. Thomas grew up in a home filled with music in Ulm, Germany, located in the southern part of the country between Stuttgart and Munich. “My first musical memory is listening to Elvis playing an acoustic guitar and Scotty Moore, who played an electric Gibson ES-295 guitar in Elvis’s backup band.” Thomas learned to play the guitar as a teen and even played in a band, but by the time he got to college, he was serious about his studies. Thomas attended college in Germany and studied business for another three years in England before moving to the United States to earn his MBA at Columbia School of Business. For 25 years, Thomas worked as an international business consultant. His clients ranged from small, family-owned companies to Fortune 500 powerhouses, including Sony, HP, and PepsiCo. “I helped companies navigate big problems or challenges,” he says. “I helped them to connect better with customers and taught them how to grow, how to become more profitable, and how to leverage technology. I love problem-solving.” While he worked in business daily, Thomas spent his spare time exercising his creativity. “I recorded a couple of albums. I like the process of recording, mixing, and mastering.” He began to amass a large guitar collection. Because he wanted to understand better the process of building a guitar, Thomas took a sabbatical in 2019 to work one-on-one with a luthier in Delaware to build a Martin-style acoustic guitar. “It was a real eye-opening experience,” he says. I had no idea how involved it would be and how much the human aspect makes a difference in how the instrument looks, sounds, and plays.” Little did Thomas know that his experiences would make him the ideal candidate for a major role opening at Martin. Chris Martin had run his family’s company for 35 years, but he was ready to retire. Since the company’s founding in 1833, it has always been run by someone in the Martin family. However, with Chris’s upcoming retirement, the company decided to look outside the family for new leadership. Meanwhile, Thomas was trying to figure out what his next step might be. “I knew I wanted to be involved in music in the arts somehow.” A self-proclaimed long-time gearhead, Thomas followed major and up-and-coming music-related companies through magazines and websites. “I found out about a search firm that was looking for a new company CEO for Martin, so I reached out to them.” Thomas doubted he’d ever be considered for the job, but after a few months of interviews, he says he found a connection through the process. The convergence of his business experience with his passion for music and guitars and his interest in the people who worked at Martin helped Thomas rise to the top. In June 2021, he became the first non-family member in six generations to lead Martin. “It worked out for me, and I’m humbled and honored to have been chosen. I feel I have something to contribute as part of the team.” With “tons of questions” but no preconceived notions of things to change, Thomas hit the ground running, making connections with loyal Martin lovers and new customers as well. “One of the first questions I asked the Board was, ‘Everyone loves Martin, but why? I asked what the company stands for and got a lot of different answers.’” That inquiry led to doing some branding work, which resulted in the creation of Martin’s “Unleash the Artist Within” slogan. “It speaks to people,” Thomas says. “It was exciting internally and externally. It is super exciting to me.” With initiatives like sustainability and celebrating the company’s heritage and legacy while looking toward the future, Thomas says he is “all in. They have all of me.” And Chris hasn’t left the company altogether. He serves as Chairman of the Board. “Chris is still involved in a lot of things, and I’m happy. It is his family’s business. We talk weekly.” Martin manufactures guitars, ukuleles, strings, gear, and accessories. They also make custom signature guitars for artists like Eric Clapton and John Mayer, as well as a host of newcomers. “Everyone who picks up our instruments has an artist within, and we have something for everyone.” And the bluegrass community is no different. “Being a part of the bluegrass community has always been important for Martin,” says Thomas. “We have traditionally had a strong connection with bluegrass. Artists like Tony Rice and many others are all connected with the Martin name.”

The city of Del Mar, California, with a population of around 4,000, is a hotbed of cultural activity thanks to the efforts of the Del Mar Foundation. The foundation continues to grow, with a mission to promote civic pride and cohesiveness, acquire and preserve open space, improve beaches and parklands, raise and grant funds, and sponsor diverse cultural programs and community events in Del Mar. Founded in 1982, the Del Mar Foundation (DMF) is the community’s oldest nonprofit organization. Betty Wheeler is a Del Mar Foundation board member and the immediate past president. She got involved with the organization twenty years ago. “I approached them and said I’d like to bring a bluegrass show to Del Mar. The woman I spoke with, a former president who founded the DMF’s Cultural Arts Committee, said, ‘I don’t know what bluegrass is, but it sounds great!’ she gave me the green light.” With that nod, Betty got to work, planning the first bluegrass concert in Del Mar featuring Phillips, Grier, and Flinner, with guest artist Gabe Witcher on fiddle. “A lot of people bought tickets without knowing much about bluegrass because DMF had such a good reputation for bringing in high-quality music,” says Betty. The San Diego Bluegrass Society also co-sponsored and helped publicize the show. That concert launched DMF’s “Bluegrass and Beyond” concert series in 2004. “We have gradually grown a strong bluegrass fan base in Del Mar,” says Betty. “Many people trust our series and attend, whether they have heard of the performers or not.” The series brings nationally recognized bluegrass and acoustic musicians to Del Mar, generally several times each year. “There is also some jazz in the mix,” says Betty. “Our first concert with Todd Phillips, David Grier, and Matt Flinner was progressive bluegrass with a lot of jazz influence. I think if you are going to introduce people to bluegrass, don’t start with Bill Monroe. Instead, start with a more contemporary sound like Nickel Creek, then work from there to introduce more traditional styles.” The shows the Foundation has presented have been well-received, and the acts have been quite impressive. Groups as diverse as the Infamous Stringdusters, John Jorgenson Quintet, Nefesh Mountain, Della Mae, The Railsplitters, the Gibson Brothers, and Blue Highway have performed for the series, Rob Ickes, a 15-time IBMA Dobro Player of the Year, dubbed Del Mar “the Nashville of the West” at one of his many Del Mar appearances. Most recently, in February, Laurie Lewis and the Right Hands, a California-grown act led by a two-time IBMA Female Vocalist of the Year, performed two consecutive shows: one for DMF’s “First Thursdays” series, followed by a sold-out Bluegrass and Beyond show. The first concerts were held in the city-owned Powerhouse Community Center. “The Powerhouse is a cool venue,” says Betty. The building was renovated in 1999, and DMF launched its subscription series, “First Thursdays,” in 2000. The series includes ten jazz, classical, and eclectic concerts each year. “When standing on the Powerhouse stage, performers can look out the windows and see the ocean.  But the venue only seats around 130 people, and when the new Town Hall was built, it was designed to open into a 200-seat venue, so DMF concerts moved there to make the concerts available to a larger audience.” Betty says a perk for the performers is the opportunity to stay in the donated artist housing on the beach. “Bluegrass bands typically play two nights, the first night for First Thursdays, and the next night for a ticketed Bluegrass and Beyond show.” When booking bands, DMF looks at touring schedules to find national-stature bands that are passing their way, and rarely books bands unless Betty or another member of DMF’s Cultural Arts Committee has seen in a live performance. Betty recalls, “I attended IBMA’s World of Bluegrass one year and went to a showcase early to get a good seat. The Railsplitters played before the band. I was there to hear, and I was so impressed. I ended up following them around all week, going to all their showcases. I just knew I had to get them to play in Del Mar.” While Betty calls herself “a poor dobro player,” she has been involved in the bluegrass scene for many years, including co-founding ResoSummit with Rob Ickes in 2007. She organized the annual dobro event in Nashville for 13 years. Bringing bluegrass music to Del Mar has been a joy for her, and in doing so, she has helped introduce a new audience of listeners to one of America’s great genres of music.

Roots, folk and bluegrass musician Wil Maring is not content with making art or music. She must do both, or life will not be complete. As a visual artist, teacher, and road warrior gigger, Maring said she’s been doing all this for a long time but has absolutely no interest in slowing down. “I’m still playing out, still writing, still teaching, still doing art,” Maring said. “At a time when many people my age are thinking of retiring, I feel like I am just getting started.  Artists and musicians don’t retire.  Not ‘til they go blind or deaf.” What Maring said is straight-up truth. Making a life in the arts isn’t always a choice; it’s an inevitability. For Maring, that unavoidable path began when she was exposed to a life of art and ideas as a child. Her father was an anthropologist and a classically trained pianist, and her mother had a “massive” record collection. An early music memory is of hearing something on the radio that “sounded ‘stringy’...mandolin and guitar, or 12-string guitar sounds, all interwoven in beautiful textures and melodies,” she reminisced. “I lay on the carpet and pressed my ear to the big speaker of the console radio and just fell into those sounds and fell in love. I guess it was then I knew that I wanted to learn to create those sounds.” She said at first, it was difficult to get bookings when she started since her music “cannot be classified as either folk or bluegrass.” “I am glad that now those two music genres seem to have become a bit wider in their horizons, but back when I released my first recordings, I was ‘too folky’ for bluegrass and ‘too bluegrass’ for folk…It was hard to find a musical family to belong to in those times.” “But now things are very different, and I am so happy to see that most promoters and fans are becoming more open-minded and inclusive of everyone.” Maring said that after playing “a decade in Europe, and a couple of years in Japan, and then almost 20 years of playing in the U.S.,” the pandemic brought change. For many of those performances, Maring had appeared with Robert Bowlin, a notable guitarist and fiddler. However, the focus had to change a bit for both musicians due to how the lingering effects of COVID-19 have shaped the industry. “Robert has put more attention to his violin and guitar shop and in-house recording studio, and I have been focusing on establishing myself as a visual artist,” Maring said. “That was my college degree and a part-time job in college. I am still writing songs all the time…I’ve done it all my life. It’s just something I do to amuse myself, or maybe it’s cathartic, a kind of therapy, and it’s not something I could easily just quit doing…I always bring [while touring] at least watercolor painting materials and sometimes acrylics or oils so that if I have some time off while traveling, I can do some visual art, too.” She said the popularity of digital recording has caused a “disappearance” of sales of physical formats, so “almost every touring artist I know has had to become creative in finding other things to sell at the merch table.” Her table highlights her artwork. “There are very many successful musical artists who are also visual artists,” she explained. “Creativity is creativity, and the two go hand in hand. Maybe it all comes out of the same part of the brain. For me, I see an image or a situation in my mind, and I can either describe it in words and melody or in colors and shapes.” She said people often comment that her paintings “look like how my music sounds.” “But then, they can’t really describe how,” she admitted. “I can’t either.” “It’s so strange how it used to be that I’d go out and play music for a career and do art for fun in my spare time. Now, I do mostly art as a career, and play music for fun, though still at a professional level.” Soon, Maring will appear in Gainesville, Florida’s special concert called “Hogtown Opry” on May 18. She will also teach at the Desert Nights Summer Camp (Kingston, New Mexico) in August, where she will teach songwriting with Chris Sanders, Steve Smith, and Robert Bowlin. “There is also a nice festival there in September called Pickamania, which we play at every year with Peter McLaughlin and Chris Brashear and other talented guest artists.” Maring said both she and Robert Bowlin have quite a bit of unrecorded music, but “the funding for ambitious projects will need to be raised.” “I think that’s a problem many musicians face,” she said. The digital revolution has resulted in most people streaming music for free or nearly free; thus, the money to produce future music is not coming in. Streaming is killing the recording of new music.” Despite this, she said musicians will always “continue to create, whether we are paid for it or not,” further explaining that “Just as artists will paint, whether anyone buys their work or not…I hope that anyone reading this will make an effort to support independent artists as much as possible—whether musicians or visual artists—by purchasing their creations directly from the creator.”