Wednesday, November 30, 2016

Birth Dates of Notable Kentuckians: November 30, 1933 - Sam Gilliam

Image from

From Wikipedia (Accessed November 23, 2015):
Sam Gilliam (born November 30, 1933) is a Color Field Painter and Lyrical Abstractionist artist. Gilliam, an African American, is associated with the Washington Color School and is broadly considered a Color field painter. His works have also been described as belonging to Abstract Expressionism and Lyrical Abstraction. He works on stretched, draped, and wrapped canvas, and adds sculptural 3D elements. He is recognized as the first artist to introduce the idea of a painted canvas hanging without stretcher bars c.1965, a major contribution to the Color Field School.[1]

Lately, he has worked with polypropylene, computer generated imaging, metallic and iridescent acrylics, handmade paper, aluminum, steel, plywood and plastic.

Sam Gilliam was born in Tupelo, Mississippi and was the seventh of eight children born to Sam and Estery Gilliam. The Gilliams moved to Louisville, Kentucky shortly after Sam was born. His father worked on the railroad, and his mother cared for the large family. Gilliam began painting in elementary school and received much encouragement from teachers. In 1951, Gilliam graduated from Central High School in Louisville. Gilliam served in the United States Army from 1956 to 1958. He received his bachelor's and master's degree of Fine Arts at the University of Louisville. In 1955, Gilliam had his first solo exhibition at the University of Louisville. He initially taught art for a year in the Louisville public schools. In 1962, he married Dorothy Butler, a Louisville native and a well-known journalist. That same year, Gilliam moved to Washington, D.C., where he has lived ever since.

Career in the 1960s, early 1970s
In the 1960s, as the political and social front of America began to explode in all directions, the black artist began to take bold declarative initiatives, making definitive imagery, inspired by the specific conditions of the African American experience. Abstraction remained a critical issue for artists like Sam Gilliam. Gilliam's sense of color is modulated by his study of light, color, and its transformative and changing dynamics. He is most widely known for the large color-stained canvases he draped and suspended from the walls and ceilings during the late 1960s and early 1970s. "The background for Gilliam's art was the 1950s, which witnessed the emergence of abstract expressionism and the New York School followed by Color Field painting." Gilliam's early style developed from brooding figural abstractions into large paintings of flatly applied color pushed Gilliam to eventually remove the easel aspect of painting by eliminating the stretcher.

Gilliam was influenced by German Expressionists such as Emil Nolde, Paul Klee and the American Bay Area Figurative School artist Nathan Oliveira. He states that he found lots of clues on how to go about his work from Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and Paul Cézanne. In 1963, Thomas Downing, an artist who identified himself with the Washington Color School, introduced Gilliam to this new school of thought. Around 1965 Gilliam became the first painter to introduce the idea of the unsupported canvas. He was inspired to do this by observing laundry hanging outside his Washington studio. His drape paintings were suspended from ceilings, arranged on walls or floors, and they represent a sculptural, third dimension in painting. Gilliam states that his paintings are based on the fact that the framework of the painting is in real space. He is attracted to its power and the way it functions. Gilliam's draped canvases change in each environment they are arranged in and frequently he embellishes the works with metal, rocks, and wooden beams.

Career in the 1970s and 1980s
In 1975, Gilliam veered away from the draped canvases and became influenced by jazz musicians such as Miles Davis and John Coltrane. He started producing dynamic geometric collages, which he called "Black Paintings" due to the hue. Again, in the 1980s Gilliam's style changed dramatically to quilted paintings reminiscent of African patchwork quilts from his childhood. His most recent works are textured paintings that incorporate metal forms. Gilliam's ability to move beyond the draped canvas, coupled with his ability to adopt new series keeps the viewers interested and engaged. This has assured his prominence in the art world as an exciting and innovative contemporary painter.

Gilliam is also one of the few successful, self-supporting African American artists who views the teaching of art as a mission. His love of teaching developed during the one year he spent in Louisville public schools. He taught for nearly a decade in the Washington public schools, and then at the Maryland Institute College of Art, and the University of Maryland, and for several years at Carnegie Mellon University in Pittsburgh, Pa. In addition, Gilliam still devotes time to conducting workshops, participating in panels, and delivering lectures in this country and abroad.

Selected museum collections
Art Institute of Chicago,
Carnegie Museum of Art, Pittsburgh
Cleveland Museum of Art
Corcoran Gallery of Art, Washington, D.C.
Dallas Museum of Art
Detroit Institute of Arts
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
Kreeger Museum, Washington, D.C.
Los Angeles County Museum of Art
Mabee-Gerrer Museum of Art, Shawnee, Okla.
Metropolitan Museum of Art, New York
Milwaukee Art Museum
Minneapolis Institute of Arts
Museum of Modern Art, New York
Musée d'Art Moderne de la Ville de Paris, France
National Gallery of Art, Washington, D.C.
Pennsylvania Academy of the Fine Arts, Philadelphia
The Phillips Collection, Washington, D.C.
Renwick Gallery, Smithsonian Institution, Washington, D.C.
Anacostia Community Museum, Smithsonian Institution, Washington, D.C.
Solomon R. Guggenheim Museum, New York
The Studio Museum in Harlem, New York
Tate Modern, London
Walker Art Center, Minneapolis

These are direct quotes from the artist help describe him and/or his work; "I am a better artist today in that I am obviously a better teacher. Whether I am teaching or making art, the process is fundamentally the same: I am creating." "Only when making the work can I determine the many languages that form the planes on which it is to exist. Like abstract phrases the many intentions of the work (before an audience) passes through an intuitive sieve… The work was not planned, there are ploys, however, to the way it was laid out and then put together." 1996 –Sam Gilliam.

Gilliam received his B.A. in fine art and his M.A. in painting from the University of Louisville in Kentucky. He has taught at the Corcoran School of Art, the Maryland Institute College of Art and Carnegie Mellon University.

He has had many commissions, grants, awards, exhibitions and honorary doctorates. A major retrospective of Gilliam's work was held at the Corcoran Gallery of Art in 2005. He was named the 2006 University of Louisville Alumnus of the Year.

In 1987 he was selected by the Smithsonian Art Collectors Program to produce a print to celebrate the opening of the S. Dylan Ripley Center in the National Mall. He donated his talent to produce In Celebration, a 35-color limited-edition serigraph that highlighted his trademark use of color, and the sale of which benefitted the Smithsonian Associates, the continuing education branch of the larger Smithsonian Institution.[2] In early 2009, he again donated his talents to the Smithsonian Associates to produce a 90-color serigraph entitled Museum Moment, which he describes as "a celebration of art" [3]

In May 2011, his work From a Model to a Rainbow was installed in the Metro Underpass at 4th and Cedar, NW.

He lives in Washington D.C. and has a studio on 14th Street, NW, just north of Colorado Avenue.

1. "Colorscope: Abstract Painting 1960-1979". Santa Barbara Museum of Art. Retrieved September 15, 2014.
2. "In Celebration, 1987 by Sam Gilliam". The Smithsonian Associates. Retrieved 2013-08-09.
3. "Museum Moment, 2009 by Sam Gilliam". The Smithsonian Associates. Retrieved 2013-08-09.

Sam Gilliam: a retrospective, October 15, 2005 to January 22, 2006, Corcoran Gallery of Art
Binstock, Jonathan P., and Sam Gilliam. 2005. Sam Gilliam: a retrospective. Berkeley: University of California Press.
Works by Sam Gilliam National Gallery of Art, Washington, D.C.
Sam Gilliam papers, 1958-1989, Archives of American Art, Smithsonian Institution
AskArt lists 52 references to Sam Gilliam
Washington Art, catalog of exhibitions at State University College at Potsdam, NY & State University of New York at Albany, 1971, Introduction by Renato G. Danese, printed by Regal Art Press, Troy NY.

External links
Gilliam's Newest Work Inspires Dickstein Shapiro, Washingtonian Magazine

Selected Sources from UK Libraries:

Binstock, Jonathan P., Sam. Gilliam, and Corcoran Gallery of Art. Sam Gilliam : A Retrospective. Berkeley : Washington, DC: U of California ; Corcoran Gallery of Art, 2005. Print.
ND237.G45 A4 2005, Fine Arts Library

Beardsley, John., and Corcoran Gallery of Art. Sam Gilliam : [exhibition] March 24 - May 22, 1983. Washington, D.C.: Corcoran Galery of Art, 1983. Print. Modern Painters at the Corcoran.
ND237.G5 A4 1983, Fine Arts Library

Anacostia Neighborhood Museum. Contemporary Visual Expressions : The Art of Sam Gilliam, Martha Jackson-Jarvis, Keith Morrison, William T. Williams. Washington, D.C.]: Anacostia Museum, Smithsonian Institution, 1987. Print.
SI 1.2:C 76/3, Young Library - U.S. Government Publications (5th floor)

Birth Dates of Notable Kentuckians: November 30, 1928 - Joe B. Hall


Image from Kentucky Educational Television

From The Kentucky Encyclopedia –
Joe Beasman Hall, basketball coach, the son of Charles and Ruth (Harvey) Hall, was born on November 30, 1928, in Cynthiana, Kentucky. He played football and basketball at Cynthiana High School and attended the University of Kentucky (UK), 1947-49, on a basketball scholarship. After his sophomore season, Hall transferred to the University of the South at Sewanee, Tennessee. He earned a B.S. at UK in 1955. He was football, baseball, and basketball coach at Shepherdsville (Kentucky) High School from 1956 to 1958. At Regis College in Denver, Colorado, where he was athletics director and baseball and basketball coach, he posted a basketball record of fifty-seven wins and fifty losses. During 1958-64 he earned an M.A. from Colorado State University in Fort Collins.

After spending 1964 and 1965 as head basketball coach at Central Missouri State University in Warrensburg, Hall returned to UK as an assistant coach in charge of recruiting. In 1972 he succeeded Adolph Rupp as head basketball coach. In his thirteen-year stint at Kentucky, Hall led the Wildcats to eight Southeastern Conference (SEC) titles, one national championship (1978), and a total of 297 wins and 100 losses. He was named SEC coach of the year in 1973, 1975, 1978, and 1983 and posted a career mark of 373-154.

Hall retired following the 1984-85 season and became vice president of correspondent banking at Central Bank in Lexington, Kentucky. He also worked as a commentator for ABC television and as a public relations representative for Converse Shoe Company, conducting basketball clinics. He enjoys hunting and fishing and owns Tuck A Way, a 160-acre thoroughbred horse farm in Harrison County . Hall married Katharine Dennis on October 27, 1951; they have three children, Judy, Katharine, and Steve.

Selected Sources from UK Libraries:

Rice, Russell. Joe B. Hall : My Own Kentucky Home. Huntsville, Ala.: Strode, 1981. Print.
GV885.43.K4 R54, Special Collections Research Center

The University of Kentucky Basketball Scrapbook : NCAA Champions. Souvenir ed. London, Ky.: National Sports Albums, 1978. Print.
GV885.43.K4 U55 1978, Special Collections Research Center

Thurman, Tom., Robert H. Booth, Marilyn. Myers, Michael. Kelsay, Bob Edwards, and Kentucky Educational Television. Basketball in Kentucky Great Balls of Fire. Lexington, Ky.]: KET, 2002.
AV-D7721, Young Media Library

Tuesday, November 29, 2016

Birth Dates of Notable Kentuckians: November 29, 1928 - Logan English

Image from

From Wikipedia (A
ccessed November 23, 2015):
Logan Eberhardt English (November 29, 1928[1][2] – March 9, 1983) was an American folk singer, poet, actor, and playwright. As MC at Gerde's Folk City in Greenwich Village, he was influential in Bob Dylan's early career, and also recorded one of the earliest albums produced as a tribute to Woody Guthrie.

He was born in Henderson, Kentucky, later moving to a farm in Bourbon County.[3] His mother, Corilla (née Eberhardt), was a former opera singer. Both his father, Logan B. English, and his maternal grandfather, Fredrick W. Eberhardt, were Baptist ministers; Eberhardt was a published author, and Logan B. English was a farmer and prominent civic leader.[4] Logan E. English later said that his grandfather's preachings, and the songs of the field hands on his father's farm, were vital in shaping his love of folk music and the theater.[5]

He attended the Millersburg Military Academy before studying acting and speech at Georgetown College. After serving in the US Army in Korea, he returned to complete a Master's degree in Fine Arts at Yale School of Drama.[3][4] He started to pursue an acting career in New York, and also began singing traditional folk songs in clubs in Greenwich Village and elsewhere. English had what was described as a "startlingly melodious voice, and a winning personality"; he was a talented guitarist, but did not write his own songs.[6]

He began singing professionally in 1956.[4] The following year, he recorded two albums for the Folkways label - Kentucky Folk Songs and Ballads, and The Days of '49: Songs of the Gold Rush, the latter with banjoist Billy Faier - and a third album, Gambling Songs, for the Riverside label.[7][8] His recordings and regular performances of traditional songs, in New York and Boston, helped put many of the traditional songs into wider circulation; his version of "Geordie", for example, was heard by Joan Baez who performed and recorded the song in 1962.[6]

English performed at the opening night of Gerde's Folk City club in Greenwich Village in 1960, together with Carolyn Hester.[9] He knew Woody Guthrie through mutual friends Bob and Sid Gleason, and was instrumental in securing Bob Dylan his first appearance at Gerde's in 1961. His widow Barbara Shutner said:

My husband Logan English and I met Bob Dylan at Bob and Sid Gleason's house... One night we were all sitting around and Woody said something like, "Play something" to this kid sitting on the couch. The kid was Bob Dylan, and he sang and it was just beautiful. So Logan said, "I'm working at Gerde's. I'm the MC. We'll get you to play there." So that Monday night, Bob came in and did his first set.[10]

He sang at Carnegie Hall, toured extensively in the US and Canada,[11] had a radio show on station WBAI, and appeared in several plays, both on and off-Broadway. He also wrote poetry. Two of his verses, The Wind That Shakes The Barley and Beware You Sons of Sorrow, appear in The Kentucky Anthology: Two Hundred Years of Writing in the Bluegrass State, in which English is described as "Bourbon County's poet-errant, a man who loved Kentucky but who could never live for very long in the land that formed and nourished him and provided him with material for his poetry, plays and songs."[5]

He appeared on several compilations and live recordings of folk music in the early 1960s, including The Life Treasury of American Folk Music.[7] In 1962 he recorded the album American Folk Ballads for Monitor Records. The songs included sea shanties and children's songs, with English writing a short description or story about each song in the liner notes. He wrote:

From the wild-flower dusks of mountain twilights, out of steamy southern mud-flats and dusty midland prairies, off the sun-silver steel of cinder-blown railroad tracks and out of the chill damps of prison cells - from churches and saloons, cradles and gravesides come the songs of America that must be sung.[9]

He recorded the album Logan English Sings the Woody Guthrie Songbag for 20th Century Fox Records in 1964. Released three years before Guthrie's death, and described as "an unselfish effort to boost the awareness of the iconic folk legend",[8] it contained versions of thirteen of his songs, and led to English's identification as one of Guthrie's major interpreters.[4] However, English's unwillingness to write his own songs, coupled with a chronic drinking problem, also made it increasingly difficult for him to maintain a successful performing or recording career.[6]

He later moved to Saratoga Springs, New York, where he taught and gave occasional public performances.[6] In 1974, he released his final album, Woody Guthrie's Children's Songs, for the Folkways label.[7][8] In 1979, he published a long autobiographical poem, No Land Where I Have Traveled: A Kentucky Poem, which was reprinted in 2001.[5] He also wrote two full-length plays, and was commissioned by the Actors Theatre of Louisville to write a play based on the life of Kentucky politician Cassius Marcellus Clay, which was unfinished at the time of his death.[4]

He died in Saratoga Springs in 1983, at the age of 54, when he was hit by an automobile while walking.[6]

Kentucky Folk Songs and Ballads (Folkways, 1957)
The Days of '49: Songs of the Gold Rush (with Billy Faier) (Folkways, 1957)
Gambling Songs (Riverside, 1957)
American Folk Ballads (Monitor, 1962)
Logan English Sings The Woody Guthrie Songbag (20th Century Fox, 1964)
Woody Guthrie's Children's Songs (Folkways, 1974)

1. Kentucky Birth Index
2. US Social Security Death Index, SSN 406-36-2930
3. Liner notes for Gambling Songs. Retrieved 3 April 2014
4. English family papers, 1884-1986, University of Kentucky. Retrieved 3 April 2014
5. Wade Hall (ed.), The Kentucky Anthology: Two Hundred Years of Writing in the Bluegrass State, University Press of Kentucky, 2010, pp.763-764, 825
6. Biography by Bruce Eder at Allmusic. Retrieved 3 April 2014
7. Stefan Wirz, "Logan English: Discography". Retrieved 3 April 2014
8. Strong, Martin C. (2010). The Great Folk Discography: Pioneers and Early Legends. Edinburgh: Polygon Books. p. 89. ISBN 978-1-84697-141-9.
9. Smithsonian Folkways: American Folk Ballads. Retrieved 3 April 2014

10. John Bauldie, Wanted Man: In Search of Bob Dylan, London, 1990, p.37, quoted at Retrieved 3 April 2014
11. Deirdre A. Scaggs, Andrew W. McGraw, The Historic Kentucky Kitchen, University Press of Kentucky, 2013, pp.150-151. Retrieved 3 April 2014

External Links
Guide to the English Family papers, 1873-1983 housed at the University of Kentucky Libraries Special Collections Research Center

Selected Sources from UK Libraries:

English, Logan. Logan English in American Folk Ballads. New York: Monitor, 1962.

English, Logan., Wade Hall, Richard Taylor, and Larkspur Press. No Land Where I Have Traveled : A Kentucky Poem. Monterey, Ky.: Larkspur, 2001. Print.
PS3555.N44 N6 2001 copy 1, Special Collections Research Center

Woody Guthrie S Children S Songs Sung by Logan English. Folkways Records. Print.

Birth Dates of Notable Kentuckians: November 29, 1917 - Merle Robert Travis


Photo from Ohio Fingerstyle Guitar Club (

From The Kentucky Encyclopedia –
Merle Robert Travis, guitarist, was the son of William Robert and Laura Etta (Latham) Travis, born in Muhlenberg County , Kentucky, on November 29, 1917. He began his career on radio station WGBF-Evansville in Indiana in 1935 and joined Clayton McMichen's Georgia Wildcats band in 1937. About 1940 he went to WLW-Cincinnati. In 1944 Travis moved to California, where he performed on radio and television, led a band that toured the Southwest, and appeared in some forty movies. He originated the "Travis picking style," a three-fingered style of playing melody and rhythm simultaneously on the guitar, using the thumb to maintain a bass rhythm while the forefinger played a syncopated melody on the treble strings. He is credited with designing the first solid- body (flat top) electric guitar, known as the Fender guitar. He and Chet Atkins won the Grammy for the best country instrumental in 1974. Travis was inducted into the Country Music Hall of Fame and the Nashville Songwriters Hall of Fame. He died October 20, 1983, and is buried in Greenville, Kentucky.

CHARLES F. FABER, Entry Author

Selected Sources from UK Libraries:

Green, Douglas B. Country Roots : The Origins of Country Music. New York: Hawthorn, 1976. Print.
ML3561 .C69 G73, Fine Arts Library

Travis, Merle. The Best of Merle Travis Sweet Temptation (1946-1953). New York: Razor & Tie, 2000.
CD9178, Fine Arts Media Center

Travis, Merle. In Boston, 1959. Cambridge, Mass.: Rounder Select, 2003.
Internet Access

Monday, November 28, 2016

Birth Dates of Notable Kentuckians: November 28, 1983 - Ben Sollee

Image from

From Wikipedia (Accessed November 25, 2015):
Ben Sollee (born November 28, 1983) is an American cellist, singer-songwriter, and composer known for his political activism. His music incorporates banjo, guitar, and mandolin along with percussion and unusual cello techniques. His songs exhibit a mix of folk, bluegrass, jazz, and R&B elements. Sollee has also composed longer instrumental pieces for dance ensembles and for film.

Early life and education
Ben Sollee was raised in Lexington, Kentucky, and attended public schools where he was introduced to the cello in the fourth grade.[1] Yates Elementary School orchestra teacher Ellen Dennison brought a collection of musical instruments to her class and demonstrated them for students. Sollee was quickly charmed by what he called the "growly" sound of the cello and chose it as the instrument to learn to play and he eventually became the only cello player in his school orchestra.[1] In addition to studying classical music in school, Sollee was exposed to other kinds of music at home and in his extended family. His father, Robert, was an R&B guitar player and his mother, Myra, was a singer. Most especially, his maternal grandfather, Elvis Henry Cornelius was an Appalachian fiddler. Music around the home featured recordings of such artists as Wilson Pickett, Ray Charles, Phoebe Snow, and Otis Redding. As he was growing up, Sollee spent many hours in the company of his fiddler grandfather at jam sessions and gatherings in the barns and hollers of rural Kentucky, picking out as best he could on his cello the fiddle tunes and folk songs of the Appalachian Plateau. His growth as a musician, and eventually as a songwriter, straddled two non-overlapping worlds—that of classical music during his days in the school program, and the distinctly non academic music of his rustic family forebears in the evenings and on weekends.

At the age of 17, Sollee became a member of the house band, known as the "Folk Boy Orchestra," on the syndicated weekly radio show, WoodSongs Old-Time Radio Hour , hosted by Michael Johnathon. Through this participation, Sollee was exposed to a wide range of professional musicians and performers who appeared as featured guests on the show. He played regularly as the house cellist until the summer of 2006 - after more than 200 shows. Sollee was also a guest performer on the WoodSongs program while still in high school, on 29 October 2001. He eventually performed as a guest on several occasions: As a solo artist on 10 September 2007; as a member of the Sparrow Quartet on 19 May 2008; with colleague Daniel Martin Moore on 11 January 2010; and again as a solo artist on 29 April 2013.

Solle graduated from the School for Creative and Performing Arts at Lafayette High School in 2002. He was admitted to the University of Louisville's School of Music on a full-tuition scholarship to study cello with Paul York. This began a four-year saga that hugely expanded Sollee's technical mastery of his instrument, while being marked by a constant struggle with his teacher over their different musical interests and objectives.[1] In this context, Sollee collided with the firmly established tradition of the cello as a fundamentally, if not exclusively, classical instrument. He now found that his participation in two disparate worlds of music had become a struggle within himself as well as a source of frustration with his formal training.[1] In resisting the conventional orthodoxy, Sollee disputed the classical tradition as the way to play the cello, insisting that was just one way to play it.[1]

Early career and Learning to Bend
While in college, Sollee performed and soloed in his school's classical ensembles but continued to participate in the Woodsongs programs and took part in the recording sessions of seasoned performers such as Otis Taylor and Abigail Washburn. Sollee toured off and on with Washburn as a duo from 2005 to 2008. He became a member of the Sparrow Quartet (which also included banjoist Bela Fleck and violinist Casey Driessen) when Washburn formed it in 2006, and that year the group issued an EP with five songs on the Nettwerk label.[2] The Sparrow Quartet made a trip to perform in China in 2007 and, under auspices of the US State Department, became the first American music ensemble of any kind to be permitted to enter Tibet, where it performed several shows.[3] The group then began working on what would be its signature studio album, Abigail Washburn & The Sparrow Quartet, which was released in May 2008. The group toured widely throughout the U.S. during the period of 2006-2008. On June 30, 2008 the quartet was featured in a broadcast on PBS station KPBS in San Diego.[4]

While Sollee had been touring commercially since his last teens with artists such as Otis Taylor and Abigail Washburn, during his senior year he began performing his first solo gigs in Louisville area, playing his own music. By this time he has already self- produced three CD albums, the most recent of which, Turn on the Moon, was released in March 2006. After graduating from the University of Louisville in May 2006 with a degree in cello performance, and while still touring with the Sparrow Quartet, Sollee began work on a new solo album, also self produced, entitled Learning to Bend, which was released in an initial premium "collector's" version (1000 numbered copies) in November 2007. By December 28, 2007 on the strength of that record, NPR's Morning Edition had identified Sollee as one of the "Top Ten Unknown [undiscovered] Artists of the Year." [5] Sollee was invited to perform on NPR's World Cafe (radio program) program on May 19, 2008, again on July 29, 2008 and on other occasions since.

A commercial version of Learning to Bend, issued on the SonaBLAST! Records label, was released in June 2008. On July 5, 2008, NPR's All Things Considered aired a feature on Sollee, describing his record as "an inspired collection of acoustic, folk, and jazz-flavored songs, filled with hope and the earnest belief that the world is good."[6] No Depression (magazine) ranked Sollee's record among its top five for 2008. Paste Magazine's September 2008 issue listed Sollee among "The Best of What's Next; Twenty-Six Emerging Artists You Must Know." [7]

Ben Sollee was featured on the PBS series On Canvas, broadcast by Philadelphia station WHYY on October 8, 2008, which was recorded before a performance at the First Unitarian Church in Philadelphia.[8] On December 20, 2008, Public Radio International's "The World" program, co-produced by the BBC World Service and WBGH Boston, declared Learning to Bend one of the nine best "Global Hits" of 2008. The top nine contained only three artists from the U.S.[9]

Kanye West episode
The 2008 Bonnaroo Music and Arts Festival was marked by controversy surrounding a performance by Kanye West. West's set was scheduled for 2:45 a.m. on 8 June, the last night of the festival. The previous act had left the stage late and the time taken to remove its staging and install West's elaborate set, including a pyro and light show, delayed the show's start until 4:25 a.m. Audience members grew impatient and rebellious and some left before the show finally began.[10] Spectators threw detritus onto the stage. The production and choreography of the show was compromised, West was outraged, and many in the audience became hostile. The resulting debacle resonated for days afterward, fanned by an angry Kanye West on his blog site.[11]

Sollee also had performed in the 2008 Festival, as a member of the Sparrow Quartet, and so was a witness to the Kanye West episode. The next day Sollee wrote a song about it titled "Dear Kanye," framed as an "open letter" to West, which he recorded on his laptop. It was done on a whim, he later stated, for circulation among his management team. "For better or worse, they passed it along to blogs and radio" he said, and the result was "wildfire" and unexpected and unwanted attention on the national level.[12] The song, circulated widely, acknowledged West as a major and influential artist in the rap genre and chided him for his infantile and unbecoming behavior and commercialism. Not comfortable with the resulting notoriety, Sollee withdrew the song after one local performance. He posted a statement on his website[12] explaining his actions and reaffirming his respect for "underground Hip-Hop, [whose] genuine nature can be gritty, graceful, jaded, or joyful." There is no indication that West ever took notice of, or responded to, Sollee's song.

Musical career
Raised in Lexington, Kentucky, Sollee began playing the cello in elementary school. Besides classical music, his early musical influences included recordings his parents played of Wilson Pickett, Ray Charles, Billie Holiday and Otis Redding, and later he discovered folk music.[13]

In 2005, Sollee joined with Abigail Washburn (banjo and vocals), Bela Fleck (banjo) and Casey Driessen (violin) to form The Sparrow Quartet.[14] The group's debut album, Abigail Washburn & The Sparrow Quartet, was released in May 2008. That same month, Sollee came out with his first EP If You're Gonna Lead My Country. A month later, in June 2008, he released his solo debut album Learning to Bend.

In 2007, NPR's Morning Edition named Sollee one of the "Top Ten Unknown Artists of the Year".[15] Following the release of his album in 2008, the public radio network's All Things Considered aired a feature on Sollee, describing Learning to Bend as "an inspired collection of acoustic, folk and jazz-flavored songs, filled with hope and the earnest belief that the world is good."[13]

Sollee has also been featured on the PBS series On Canvas, recorded at the First Unitarian Church in Philadelphia; he was 17 years old when he started a weekly run as the cellist on the house band, the Folk Boy Orchestra, of the radio program WoodSongs Old-Time Radio Hour.[16] Sollee's song "How to See the Sun Rise" was featured in a Season 4 episode of the Showtime television series Weeds.

In March 2009, he began touring with the Vienna Teng Trio, which is led by pianist/singer-songwriter Vienna Teng, and The Paper Raincoat, a band from Brooklyn, New York.

In November 2009, Ben toured with his friend, Cincinnati singer-songwriter Kim Taylor. Taylor and Sollee had done occasional shows together since 2007, but this tour found them playing both solo material, and accompanying one another during each other's sets.[18]

Dear Companion, out February 16, 2010 on Sub Pop Records, is collaboration between three Kentucky musicians. The songs are written and performed by Ben Sollee and Daniel Martin Moore, and produced by and featuring Jim James of My Morning Jacket and Monsters of Folk. Recorded in the first half of 2009 in their home state, Dear Companion explores their ties to the place they love and aims to draw attention to the problem of mountaintop removal coal mining and its impact on the people and heritage of central Appalachia.[19] The album debuted at number 6 in the nation.

In June 2011, Ben Sollee performed at Bonnaroo Music Festival in Manchester, Tennessee both as an individual artist and with My Morning Jacket.

British artist Joe Simpson named his exhibition 'Everything Is Electrified' after Sollee's song. The show was exhibited in London in 2012.

Political activism
Sollee's music frequently touches on social issues including poverty and environmental issues. As a native of Kentucky he is especially passionate about the issue of mountaintop removal in coal mining. This is one of the themes of his collaboration album Dear Companion. He frequently plays benefit concerts for the organizations Kentuckians For the Commonwealth and Oxfam America, and has made several tours of Kentucky on his bicycle, stopping in smaller towns between his headlining performances. Of specific note is the tour in the Summer of 2009 which was put on in conjunction with Oxfam America, in which he traveled 330 miles to the Bonnaroo festival with his supplies and cello strapped to his bicycle. He uses a special long-frame bicycle made by Xtracycle which weighs about 60 lbs when fully packed.[20]

If You're Gonna Lead My Country EP (2008)
Something Worth Keeping EP (2008)
Learning to Bend (sonaBLAST! Records, 2008)
Dear Companion (with Daniel Martin Moore) (2010)
Inclusions (2011)
Live at The Grocery On Home (sonaBLAST! Records, 2012)
Half Made Man (2012)
The Hollow Sessions (2013)

See also
Sparrow Quartet

1. "On Tour". WHYY. October 8, 2008. Retrieved 2015-08-28.
2. "Live From Folk Alley". Folk Alley. November 17, 2006. Retrieved 2015-09-24.
4. "Abigail Washburn and the Sparrow Quartet, Featuring Béla Fleck, Perform in Studio". KPBS. June 30, 2008. Retrieved 2015-10-22.
5. "Top 10 Great Unknown Artists of 2007". NPR. December 28, 2007. Retrieved 2015-10-28.
6. "Ben Sollee Learns To 'Bend'". National Public Radio. August 9, 2009. Retrieved 2015-10-28.
7. "22 up-and-coming artists you ignore at your own peril!". Paste Magazine. August 9, 2008. Retrieved 2015-10-28.
8. "ON TOUR Ben Sollee". WHYY. October 8, 2008. Retrieved 2015-10-28.
9. "The Best of Global Hit". PRI. December 20, 2008. Retrieved 2015-10-28.
10. "Kanye West Nearly Destroys Computer Blaming Bonnaroo, Pearl Jam For 4:30 A.M. Show". MTV. June 25, 2008. Retrieved 2015-11-18.
11. "Kanye: Don't Blame Me, Blame Bonnaroo". Stereogum. June 25, 2008. Retrieved 2015-11-18.
12. "Ben Sollee: An Open Letter". Backseat Sandbar. August 30, 2008. Retrieved 2015-11-18.
13. "All Things Considered". NPR. July 5, 2008. Retrieved 2009-04-23.
14. Bio page
15. "Morning Edition". NPR. December 28, 2007. Retrieved 2009-04-23.
16. "Listen: Ben Sollee". Consequence of Sound. July 23, 2008. Retrieved 2009-04-23.
17. Weeds music
18. "Kim Taylor Tells The Greatest Story". Cincinnati City Beat. October 30, 2008. Retrieved 2008-10-30.
20. "Bonnaroo Goes Green: Rocker Ben Sollee Bikes to Mega Festival." Jeff Biggers, Huffington Post

External links

Media related to Ben Sollee at Wikimedia Commons
Ben Sollee's official website
Oxfam America blog entry and video about Sollee's work with the humanitarian organization

Source from UK Libraries:

Howard, Jason, and Rodney. Crowell. A Few Honest Words : The Kentucky Roots of Popular Music. Paperback ed. 2015. Print.
ML3477.7.K4 H78 2015, Young Library - 4th Floor

Friday, November 25, 2016

Birth Dates of Notable Kentuckians: November 25, 1846 - Carry Nation


 Image from

From The Kentucky Encyclopedia -
Carry Amelia (Moore) Nation, temperance crusader, was born on November 25, 1846, in
Garrard County, Kentucky, to George and Mary (Campbell) Moore. Her father was a planter and livestock dealer. Her mother, who was mentally ill, was often under the delusion that she was Queen Victoria. Between 1851 and 1865 the family lived in Boyle and Woodford counties, Kentucky; Grayson County, Texas; and Belton, Missouri. Ill health curtailed Carry's formal education.

Carry Moore married Dr. Charles Gloyd, a Missouri physician, in 1867. She left Gloyd, an alcoholic, several months later and returned to her parents' home, where she gave birth to a daughter, Charlien. Gloyd died within six months of her departure. Having earned a teaching certificate from the Normal Institute in Warrensburg, Missouri, Carry taught school. In 1877, after losing her teaching position, she married David Nation, lawyer, journalist, and minister. In the early 1890s the Nations moved to Medicine Lodge, Kansas, where he practiced law and she campaigned with a religious fervor against drinking. After her second marriage ended in divorce, Carry Nation developed a branch of the Women's Christian Temperance Union to rid Kansas of saloons. Kansas had outlawed alcohol, but liquor was sold by many establishments there. In June 1900 Nation used bricks to wreck a saloon in Kiowa, Kansas, and a hatchet later became her weapon in traveling throughout the United States to destroy drinking places. She was often imprisoned for "hatchetation" (her own term).

Nation lectured extensively in the United States and abroad. She was concerned with equal rights for women, the plight of the homeless, sex education, and the evils of tobacco. In July 1904 she was attacked by an irate bar owner in
Elizabethtown, Kentucky , after a temperance lecture she had delivered. The police who saw the incident failed to arrest her assailant. Nation last wrecked a bar, Mrs. Maloy's Dance Hall and Cafe, in Butte, Montana, on January 26, 1910. She retired to a farm in Boone County, Arkansas, and died in Leavenworth, Kansas, on June 9, 1911. She was buried in a family cemetery in Belton, Missouri.


Selected Sources from UK Libraries:

Nation, Carry Amelia. The Use and Need of the Life of Carry A. Nation. Rev. Ed. Twenty-five Thousand.. ed. Topeka: F.M. Steves & Sons, 1905. Print.
B N213u 1905, Special Collections Research Center - Biography Collection

Nation, Carry Amelia. The Hatchet. Print.
178.05 H283, Special Collections Research Center

Thursday, November 24, 2016

Birth Dates of Notable Kentuckians: November 24, 1784 - Zachary Taylor

 Image from

From the Kentucky Encyclopedia -

Zachary Taylor, twelfth president of the United States, was born on November 24, 1784, at Montebello in Orange County, Virginia. In the spring of 1785, Taylor's parents, Richard and Mary (Strother) Taylor, moved the family to a plantation in Jefferson County , Kentucky. At Springfield, as the Taylor residence was known, Zachary Taylor helped with farm work and was educated by a tutor. In 1808 he was commissioned a first lieutenant in the 7th Infantry. Taylor saw active service in the War of 1812, distinguishing himself in particular in the defense of Fort Harrison against an Indian assault in September of 1812.

After the war Taylor returned briefly to civilian life, working for a year (1815-16) on the 324-acre farm given to him by his father near Louisville. He then rejoined the military and in succeeding years was stationed at various outposts along the American frontier. He participated in the Black Hawk War in 1832 and commanded American forces in a successful campaign against the Seminole Indians in Florida in 1837. During the Mexican War (1845-47) he earned popular acclaim as the victorious commander of the Army of the Rio Grande. After the war he won election to the presidency as a Whig candidate and was inaugurated on March 5, 1849.

Taylor maintained Kentucky as his official residence during most of his adult life. He lived in Louisville while on furlough, from the late summer of 1818 until February of 1820. On June 30, 1819, during President James Monroe's tour through the southern states, Taylor dined with the president and Gen. Andrew Jackson at ex-senator John Brown's Frankfort residence. During his period of service in the army, Taylor often visited his father's home at Springfield. He owned stock in two Kentucky banks and purchased warehouses and town lots in Louisville. Taylor eventually sold his Kentucky farm and made various land purchases in Louisiana and Mississippi during the 1820s, 1830s, and 1840s. On February 14, 1849, during his last visit to Kentucky on the way to his inauguration in Washington, Taylor visited Frankfort and was honored there by the local population.

Taylor married Margaret Mackall Smith of Calvert County, Maryland, on June 18, 1810, and had six children by her, two of whom died in childhood. Taylor died in office on July 9, 1850. He was buried in Washington, D.C.; later his remains were moved to the family graveyard at Springfield. This graveyard became a part of the Zachary Taylor National Cemetery.

JOHN FORGY, Entry Author 

Selected Sources from UK Libraries:

Montgomery, Henry. The Life of Major-General Zachary Taylor : Twelfth President of the United States. Philadelphia: Porter & Coats, 1847. Print.
E422 .M76 1847, Special Collections Research Center

Taylor, Zachary. Zachary Taylor Papers, 1812-1850. (1812). Print.

87M17, Special Collections Research Center, Manuscript Vertical Files

Bauer, K. Jack. Zackary Taylor : Soldier, Planter, Statesman of the Old Southwest. Baton Rouge: Louisiana State UP, 1985. Print. Southern Biography Ser.
E422 .B26 1985, Young Library - 4th Floor

Wednesday, November 23, 2016

Birth Dates of Notable Kentuckians: November 27, 1957 - Callie Khouri

From Wikipedia
(Accessed November 18, 2016) 

Carolyn Ann "Callie" Khouri (born November 27, 1957) is a Syrian-American film and television screenwriter, producer, feminist, and director. In 1992 she won the Academy Awardfor Best Screenplay Written Directly for the Screen for the film Thelma & Louise, which was controversial upon its release because of its progressive representation of gender politics, but which subsequently became a classic. 

Khouri's most recent movie, Mad Money, was released in 2008. On October 10, 2012, Khouri's television series, Nashville, premiered on ABC. The critics awarded it strong reviews. 

Carolyn Ann Khouri was born in San Antonio, Texas, but was brought up in Kentucky as the daughter of a Syrian-American doctor and a southern belle.[2] Her family name is of Christian Arab origin, meaning priest in the Arabic language. Khouri's interest in theatre arts began when she took part in high school plays. Following her graduation from St. Mary's High School in Paducah, Kentucky, she studied landscape architecture at Purdue University before changing her major to drama. Khouri dropped out of Purdue and moved to Los Angeles, California where she waited tables at music clubs[3] and studied at the Lee Strasberg Theatre and Film Institute (where she studied with Peggy Feury, her first acting teacher). She soon realized that being an actress was not her destiny: "I can't stand people looking at me," says Khouri.[4][5] 

In 1985, she took her first step toward “film production by pursuing a position as a commercial and music video production assistant.”[6] Khouri began working in film production in 1991. From 1996 to 1998, and from 2000 to 2002, Khouri served on the Writers Guild of America board of directors; she sat on the board of trustees of the Writer’s Guild Foundation from 2001 to 2004.[7] She was a member of Hollywood Women's Political Committee, Fairness and Accuracy in Reporting Women's Media Watch Project.[8] 

On June 2, 1990, she married David Weaver Warfield, a writer and a producer. She later divorced him, and married musician T Bone Burnett in 2006.[8] 

Khouri is a screenwriter, director, producer, feminist, lecturer, and author of nonfiction. She also worked as an actress, lecturer, and waiter in Nashville. While working for a company that made commercials and music videos, she began writing Thelma & Louise, her first produced screenplay. Thelma & Louise won Khouri the Academy Award for Best Original Screenplay,[9][10] a Golden Globe Award, and a PEN Literary Award, as well as the London Film Critics Circle Award for Film of the Year and a nomination for Best Original Screenplay from the British Academy of Film and Television Arts.[11] According to an interview done by David Konow, a scholarly author and journalist, Callie Khouri mentioned her experience filming her first major film, Thelma & Louise. “While I was writing Thelma and Louise, it was the most fun I had ever had in my life, bar none,” she says. “It was such a pure experience. There was no self-censorship there, there was no second guessing. From a creative standpoint, it was the freest I had ever been in my life. I loved every moment I got to spend time with those characters. Nothing came close to it, including winning all the awards and everything else. As much fun as all that was, it wasn’t as much fun as sitting alone in a crummy office on Vine at 2 in the morning writing that screenplay.”[12] At the Oscar ceremony she said, "for everyone who wanted to see a happy ending for 'Thelma and Louise', for me this is it," brandishing the statue high. After winning the Academy Awards for her best screenplay, she felt motivated enough to continue on with her career and express "her feelings about the lack of female directors in Hollywood", not to mention that most of her career began because of her stand on women's rights.[13][14] In an interview done by The Huffington Post, she addressed that adult women "are a market that I feel is underserved in the entertainment population at large. I don’t see the kind of women represented that I know or that I’m attracted to. I really want to try to write more nuanced, less simplistic kind of stuff, and its hard to find a place to do that."[15] 

Thelma and Louise
“At first I had no desire to write screenplays. I kind of wished I had because I was reaching the end of my time producing music videos. I was struggling so hard to figure out what it was that I was supposed to be doing. I kept thinking I’m supposed to be doing something creative. I can’t believe I have such a knack for the vernacular and I don’t have anywhere to apply it."[16] “I felt I had not found my true path. And then a series of events occurred that led me to the point where I didn’t have anything to lose if I wrote a screenplay."[17] She began writing sitcoms with a comedian friend but was plagued by second thoughts about her work. Khouri was frustrated and kept "contemplating and meditating" until she got this idea of "two women going on a crime spree."[18] She felt as if a light bulb had gone on over her head, making her more interested in the idea. 

She originally created the character Louise as a woman living in Texas who works as a communication secretary, "somebody sitting behind one of those big desks with a headset on directing people and taking calls and all that stuff."[19] She imagined that Louise considered herself a liability as an employee, and that women would never be able to achieve power. This version of Louise would always remain narrow in her ambitions. someone "who never realized women could be executives until she saw one come in the front door."[18] 

The character Thelma, on the other hand, was first written as a character who "had kids and stuff like that, but I realized that she couldn’t have kids. The idea that Darryl wanted her to wait, because the kids would be a sacrifice for him financially, fit perfectly. And, of course, she’s really a child herself. I had to set it up that way. I love to laugh, and I wanted this to be a movie you were enjoying and having a good time with because you were watching these women get their lives. Even though they would lose them, they were becoming more and more themselves. It was a beautiful experience, a liberating experience to watch that."[20] 

Subsequent work
Her second film as a writer, the romantic comedy-drama Something to Talk About (1995),[21] earned mixed reviews from critics. 

In June 2002, Khouri made her directorial debut with her adaptation of Divine Secrets of the Ya-Ya Sisterhood, which grossed a total of $73,839,240 worldwide.[22] The film opened at number two in the box office behind The Sum of All Fears's second weekend.[11][23] 

In 2006, Khouri created, wrote and directed the pilot for the legal television series Hollis & Rae that was produced by Steven Bochco.[24] 

Khouri directed Mad Money in 2008, a crime-caper film starring Diane Keaton, Queen Latifah, and Katie Holmes.[25] 

In 2012 she developed ABC’s country music drama series, Nashville, starring Connie Britton and Hayden Panettiere. Khouri's husband T Bone Burnett was the show's executive music producer and composer for the first season. Leaving the show shortly after the first season production wrapped, Burnett later stated that he was upset with television executives' treatment of his wife.[26] His assistant and the managing producer Buddy Miller took over for Burnett in season two.[27] Nashville received positive reviews from critics, and Khouri continued on the show without Burnett's involvement.[28] 

Khouri works as a part-time lecturer of theatre arts. She has taught a master class on filmmaking at the Athena Film Festival at Barnard College in New York City, as well as a writing and directing course at the Arts Initiative Columbia University in the City of New York, featuring Thelma & Louise.[29][30][31] 

Aside from teaching and filmmaking, Khouri devotes time to feminist organizations; "Don’t you think talking about it is important, making the next generation understand that things are still not right for women?"[32] says Khouri. “I feel like I owe aspiring writers at least the warning that they are picking maybe the hardest thing there is to do in the business,” she says. “It doesn’t matter anymore how good you are. In some ways, it never really did. Bad movies get made as often as good ones, but so few movies get made now, period. If you write for a studio, you may be one of eight writers, so it’s not like you can have an artistic vision of your own and achieve it solely through screenwriting. I was very lucky because Ridley really wanted to tell Thelma & Louise. He wanted to make the movie I wanted to make. But oftentimes that’s not the case at all. They think your script is a good idea and that’s all. So they buy it and then they hire two or three other people to take a whack at it and it can be a very disappointing thing."[33] 

According to an interview in Variety[34] Khouri takes an opposing approach toward guns in social media; "in other countries where they have violent video games but less access to guns, they have less mass shootings. I have a really hard time saying, if there were no violent games, people would stop shooting each other. I think that until they have no way of shooting each other, they won't stop." says Khouri. "We have a speed limit. Why can't we have a bullet limit? The idea that we don't need limits stricter than we have now on guns is absolutely insane. Because ultimately, people don't kill people — guns kill people, and people with guns kill people." She also argued that America has lost its moral compass and that "it's worse than it's its ever been!" in the matters of gun control. She claimed that there is no quick route to end gun control because Hollywood actors such as Sylvester Stallone"make a fortune from violence. Do you think those types of movies will stop getting made? I don't," says Khouri.[35] 

National Women’s History Museum
The National Women's History Museum (NWHM) is a non-profit organization that recognizes powerful women who contribute toward feminist filmmaking, such as Callie Khouri and Susan Sarandon. It also receives support, as well as generous donations, from other women such as Shonda Rhimes, Meryl Streep, and Frances Fisher. On August 23, 2014, Callie Khouri was honored by the National Women’s History Museum and NWHM Los Angeles Council in "Women Making History Brunch" at the Skirball Cultural Center in Los Angeles, California, for winning an Academy Award, Golden Globe, and WGA. “She’s revolutionary,” said Geena Davis on working with Khouri, who also is the creator and executive producer of Nashville." “She creates characters that are in charge of their own fate to the bitter end. Female characters who are in charge of themselves.”[36] 


Credited as

Awards and nominations

List of awards and nominations
Best Screenplay
Distinguished Screenwriter Award[38]


1.The Heartbeat, and the Twang, of a City; New York Times, October 7, 2012; accessed January 23, 2014.
2. Weller, Sheila. "The Ride of a Lifetime: The Making of Thelma & Louise". Vanity Fair. Retrieved 2016-02-09.
3. "83. Ben Blacker." Fast Company 176 (2013): 138. Interview: Callie Khouri. Database: Shatford Library - Retrieved 2015-04-27.
4. Athena FF: Callie Khouri on the Difference between Women Characters in Film vs. TV Retrieved 2015-04-27
5. "Callie Khouri, The New York Times Profile Biography" Retrieved 2015-20-04
6. "The Tribute: Callie Khouri,People Biography." Retrieved 2015-04-19
7. "Callie Khouri profile at". Filmbug. 2008-05-19. Retrieved 2013-02-12.
8. "Database Login| Shatford Library at Pasadena City College". 9. Retrieved 2013-02-12.
9. Thelma & Louise (1991): box office business
10. Thelma & Louise (1991): awards
11. "16th Nashville Annual Screenwriters Conference". Archived from the original on 2011-11-28. Retrieved 2013-02-12.
12. “I wouldn’t send any impressionable young woman I know to see Thelma and Louise” Retrieved 2015-04-24.
13. "20th Anniversary Edition: Callie Khouri Looks Back on Thelma & Louise." Retrieved 2015-04-21
14. JANET MASLINPublished: April 1, 1992 (1992-04-01). "The New York Times". The New York Times. Retrieved 2013-02-12.
15. Callie Khouri, 'Nashville' Creator, On Taylor Swift, 'Having It All' & Why TV Beats Film For Women Retrieved 2015-04-28
16. Callie Khouri – On Creating Character: Thelma & Louise Retrieved 2015-05-02 -
17. Callie Khouri – On Creating Character: Thelma & Louise Retrieved 2015-05-02 SYDField Academy of Screenwriting-Interview
18. Callie Khouri – On Creating Character: Thelma & Louise SYDfield Academy of Screenwriting-Interview Retrieved 2015-05-02
19. Callie Khouri – On Creating Character: Thelma & Louise SYDfield Academy of Screenwriting-Interview Retrieved 2015-05-02.
20. Callie Khouri – On Creating Character: Thelma & Louise SYD Academy of Screenwriting Retrieved 2015-05-02
21. New York Times
22. Divine Secrets of the Ya-Ya Sisterhood at Box Office Mojo
23. "Weekend Box Office Results for June 7–9, 2002". Box Office Mojo. Retrieved 2013-02-12.
24. The New York Times
25. New York Times
26. Willman, Chris (30 October 2013). "T Bone Burnett on Quitting Wife Callie Khouri's 'Nashville': It Was a 'Drag-Out Fight'". The Hollywood Reporter. Retrieved 23 March 2015. Some people were making a drama about real musicians' lives, and some were making a soap opera, so there was that confusion. It was a knockdown, bloody, drag-out fight, every episode.
27. Gold, Adam. "T Bone Burnett Not Returning to Nashville, Buddy Miller to Take Over as Show's Music Producer". City Press. Retrieved August 13,2013.
28. "ABC Gives Drama Pilot Orders To Soaps From Mark Gordon And Callie Khouri". Retrieved 2012-04-21.
29. Columbia University: 14CU0: AFF Master Class: Writing & Directing With Callie Khouri Retrieved 2015-04-27
30. "Pop Culture And Feminism: An Interview With Hollywood's Callie Khouri" Retrieved 2015-04-22
31. Master Class Tickets Retrieved 2015-04-26
32. "Pop Culture And Feminism: An Interview With Hollywood's Callie Khouri" Retrieved 2015-04-22
33. 20th Anniversary Edition: Callie Khouri Looks Back on Thelma & Louise.Retrieved 2015-04-19
34. Callie Khouri Profile Retrieved 2015-04-30
35. Database Login: "Voices: Callie Khouri." Variety. 429.10 - Shatford Library Retrieved 2015-04-30
36. "Sophia Bush Honored by National Women's History Museum" Retrieved April 19, 2015
37. Andreeva, Nellie. "2013 Writers Guild Awards Nominees Announced". Retrieved 2013-02-12.
38. "Austin Film Festival To Honor Callie Khouri; 2013 Conference Slate Unveiled". Retrieved 2013-09-07.