In our second Jean Ritchie podcast, Part 2 of 2, Dr. Jones talks with Appalachian musician Carla Gover about music, social justice, and her connection to Jean Ritchie.
In these last two episodes (ep 29 & 30) we explore the life of folk singer and social worker Jean Ritchie and her connection to the UK College of Social Work. Please visit https://socialwork.uky.edu/jeanritchie for a special dedication page to Jean, with pictures, links, and full Mp3 downloads of the songs you have heard.
Ep 30 Resources
- Carla’s Website http://www.carlagover.com/home
- Zoe Speaks Music https://zoespeaksmusic.com/
- Cornbread and Tortillas https://cornbreadandtortillas.com/
Ep 30 Track List and Music Links
- The Young Man that Wouldn’t Raise Corn – Carla Gover
- Paper of Pins – Carla Gover
- Sorrow in the Wind – Carla Gover
- Cool of the Day – Jean Ritchie
Transcripts are created using a combination of speech recognition software and human transcription and may contain errors. Please check the full audio podcast in context before quoting in print.
Episode 30 – Jean Ritchie Part 2 of 2 – Dr. Jones talks with Appalachian musician Carla Gover about music, social justice, and her connection to Jean Ritchie
Blake [00:00:02] Hello and welcome to the social work Conversations podcast produced by the University of Kentucky College of Social Work. My name is Blake Jones. Here we explore the intersection of social work research practice and education. Our goal is to showcase the amazing people associated with our college and to give our listeners practical tools that they can use to change the world.
Blake [00:00:26] I’m joined today by Carla Gover my friend, banjo picker, dancer, Appalachian songstress, and many other things. Thanks for joining me today. Carla.
Carla [00:00:37] I’m happy to be here.
Blake [00:00:39] We’re here to talk about Jean Ritchie and your relationship with her. And kind of how that started. But I want to start with you because you are a very accomplished musician just a creative force in Kentucky and wonder if you could tell us a little bit about what you’re into these days what’s on what’s on your plate musically creatively that’s happening with you.
Carla [00:01:06] Well right now I have a few things going on and I’m really excited about. My band is called Zoe Speaks and it has and we have a new album that’s original folk music but highly influenced by Appalachian music that I grew up with and that my songwriting partner grew up with. So that’s been in the works. That’s really exciting. I’m involved in a project called cornbread and tortillas which is a. Was a collective of Appalachian and Latino artists dedicated to building cultural bridges and showing the connections between various Latino and Appalachian cultures. And we also have a stage show a theatre show that has dancing, music, and personal life stories kind of woven into these dramatic vignettes. So that’s a whole theatrical production. And we have a smaller school show that we do for young people called from Appalachia to the Andes. So that’s a four person show. And it’s kind of a miniature version of the same. So that’s exciting and then I just found out last week that. I get to do a fellowship where I work with an apprentice to teach her a traditional percussive dance styles of the mountain so flat footed and clogging and that’s through the Kentucky Folklife Program and the Kentucky Arts Council
Blake [00:02:27] Yeah. You know I follow you of course on social media and we’ve known each other a long time and I love the pictures of you with children and I know that you go into a lot of schools and do work with children around just music and you know Appalachian culture and all that sort of thing and wonder if you could talk about what what that’s like for you. What is it like to connect with children and really teach them about Appalachian culture and music? Are they responsive to that. Do they like that. How do connect with them?
Carla [00:03:06] They are almost unequivocally enthusiastic. That was kind of born out of the one time that I lived outside Kentucky I moved up to the D.C. area right after college and joined this professional dance troupe called fit works and we would go and do these school shows where we would do American dance for these youngsters. And. I really liked performing for the kids but I was also super super homesick and I wanted to come back to Kentucky. And I just remember feeling so strongly that you know somebody needs to be doing this or more people need to be doing this. In Kentucky schools and so for me it was important to move back to Kentucky not just because I want to live here but I also want to be an example for young people that you can stay in the state and have a vital career. For instance I just recently worked with the youth of Kentucky governor’s school for the arts and there’s so many talented young people that feel like oh if I want to have a career in the arts I’ve got to get out of this backwoods backwater state. The same is true for young people in academia who have you know scholarly goals. And part of that is because of the cultural and national narrative that that we’re fed from infancy as Kentuckians and especially as Appalachians that you know to be from there is to be backwards and dumb and not know how to talk properly and so one of my main goals when I’m in schools is to you know present Appalachian culture in a positive light. And what I hope is a more authentic light than what they’re seeing reflected on their television screens in many times and also to tell them hey you know it’s up to us to retell this story of what it means to be from Kentucky. And you know we could write a song here’s a here’s one way we can do it or we can learn these dances and and sort of claim these is our own and realize that this isn’t a part of our heritage. One other thing that’s been my particular mission in schools is that I feel like Appalachian culture has been whitewashed a lot when we look at it when we study it. And I think the influence of African-Americans on our music historically has been overlooked or ignored or not talked about. And so it’s really important to me to you know say hey look this, it’s a banjo, it comes from Africa. These songs were brought here by the slaves and we sometimes we get into some difficult conversations in schools and we talk about difficult parts of our history and I think that’s really important right now too.
Blake [00:05:38] Absolutely. Absolutely. Well let’s move over into your relationship with Jean which is kind of why we’re here. We’re doing this multi series podcast on Jean Ritchie who was one of the first graduates of our college of social work here and we have a picture of of her back in the 40s here at UK and just such an influence on my music personally. You know I love her music and I’ve tried to cover some of her things. But you knew her and it sounds like she was a mentor of yours. Tell us about how you came to know Jean Ritchie.
Carla [00:06:17] Well you know as a child growing up I am from Letcher County which is. Where I was from was about 15 miles from where she was from. And she didn’t live there anymore when I was a child but I grew up knowing who she was and knowing of her as a woman in music and in traditional music and really other than what I heard on the radio with Dolly Parton and Loretta Lynn and other people like that that I idolized Emmylou Harris. I didn’t have any real life examples of somebody doing it on a maybe not that whole big country star level so she was always an inspiration to me in that way. But when I was 21 I released my first C.D. with June Apple Records with the apple shop organization and I decided I was going to write to Jean and send her my album. So I sent her a copy and. So that was my first communication with her and she wrote me right back a really sweet little note. I remember she typed it. I still have it. Because she had hurt her thumb doing something and she could write and she invited me at that time to come to her family reunion in Viper.
Blake [00:07:24] Oh wow.
Carla [00:07:25] And so that was the first time I hung out with her. And I got to meet a bunch of her sisters. And. Many of her relatives and just felt we just hit it off and felt right at home and definitely kindred spirits. And so after that you know we would connect at festivals occasionally I would go up and play banjo to back her up on L & N or something like that. You know she’s just she’s been an inspiration to so many Kentuckians and so many people worldwide but especially as a woman you know coming from a culture that. On the one hand has so many strong women. But on the other hand has a pretty fundamentalist sort of patriarchal line in the religion.
Blake [00:08:08] Right.
Carla [00:08:08] And the things that we hear in churches and so forth. I was always happy to have her as a strong role model who had accomplished things in her career both musically and otherwise and.
Blake [00:08:18] Yeah her sense of social justice was is really evident in her music like.
Carla [00:08:25] Yes.
Blake [00:08:26] BlackWaters and in some of the others.
Carla [00:08:28] None But One.
Blake [00:08:29] And it seems like she was able to you know she was an excellent performer but she also spoke through her music like you do. I mean with your music.
Carla [00:08:41] Yes. She’s such an example for that because you know it’s really easy when you’re doing songs of social justice to get preachy. And I think it can be a turnoff to some listeners if you’re peachy and smug and you know she was just a master at getting her messages across in a really personal way with songs that you could just connect to and appreciate as a song and then you kind of realize oh wait while that’s saying something really profound.
Blake [00:09:09] We’ve asked you to perform some of her songs and then some of your own as well and you chose one called the young man who wouldn’t raise corn. Do I have that title right.
Carla [00:09:25] Yeah. That young man who wouldn’t raise corn.
Blake [00:09:29] Tell us about that.
Carla [00:09:30] Well I love the tune of it and I really love the song but I decided because I’m I’m a songwriter and I’m just like this. I wanted to rewrite the ending a little bit because it’s a traditional song that you know Jean’s family preserved and passed on so many traditional songs. But you know the story of the song is that the young woman won’t marry this man because he’s too lazy. And I was like But what if he was just a really good picker and singer. And so that’s I just had some fun with that and used a couple phrases things that my granny would say you know he’s he’s a right smart hand to do whatever you know you put some of those in the song
Song Lyrics- Carla [00:10:27] <The Young Man Who Wouldn’t Raise Corn – female vocals with banjo> Come all young fellers and listen to my song tell you about a young man who wouldn’t raise corn. The reason why I cannot tell this young man was always well. In the month of June he planted his corn in July he laid it back. In October there came a frost and the seed of this corn this Young man lost. Well you goeth down and he peeped within and the weeds and the grass was up to his chin. The weeds and the grass they grew so high it caused that young man so to cry. Well he goeth down to his nearest neighbor’s land gone a’courting as I understand. Gone a courtin as sure as you’re born. Kind sir have you wed your corn. Oh yes my dear in reply. Yes my dear I’ve laid it back. But there ain’t no need for to strive in vain don’t believe to my soul it’s going to raise one grain. Well a healthy young man who woun’t raise corn, the sorriest creature that ever was born. Sing along and sing along main but a lazy man I won’t maintain. Then he played a tune on his old banjo played her a tune with his fiddle and bow and he sang her every song he learned until that young maid’s head was turned. Oh yes my dear ‘ll marry you though you are lazy it is true. If you sing for me from dawn till dusk I’ll hoe that cornfield as I must. Come all young fellers and listen to my song tell you bout a young man who wouldn’t raise corn. You aren’t much count with a rake and hoe but he’s a right smart hand with a fiddle and bow.
Carla [00:12:46] And I get to play it for Jean once. I think she liked it.
Blake [00:12:51] Ha ha…That’s nice. So with folk music that that’s sort of the deal right. You can rewrite things.
Carla [00:12:56] You can.
Blake [00:12:56] like Shady Grove I know you. Yeah. So Zoe Speaks has done just an awesome version of Shady Grove. That is. That’s very powerful. And so that’s that’s what you can do with folk music right just sort of rewrite it.
Carla [00:13:11] Absolutely.
Blake [00:13:12] So Carla I know that the arts and specifically music have been really instrumental in your life and have formed who you are as a person. Talk with me about the importance of the arts. I think we live in a culture right now where at least our government. Does not feel that the arts are that important it’s something that that could be cut or you know in our pursuit of education we want good. You know good scores on exams and things like that and so let’s let’s cut the arts. What is it about the arts that is so important especially in Kentucky.
Carla [00:14:00] Well I mean I think the arts are one of our. Points of pride. And in a state that is often stigmatized or stereotyped having this really powerful thing that we excel at and have always excelled at. To me it’s always been a real real point of pride. I mean obviously there are so many benefits to the arts. We can talk about in terms of creative thinking skills and self-esteem and making social connections. But for me. Being able to work in the arts is also really healing. I often find that when I go into schools to do residencies the kid who is. The one who’s always screwing up and never getting the approval of the teacher is the one that excels in the storytelling class or the music class or they’ll say I can’t believe that’s the first time they’ve ever come out of their shell. Also you know my my songwriting partner and I. Mitch Barrett we do a lot of work in the schools and we’ve worked with a lot of really troubled populations. You know sexual abuse survivors, parenting teens. And kids just facing extreme poverty you know. And so that’s been really therapeutic for them and certainly also for us just to to get to help them process some of the heavy things that they’re going through through the arts. So that’s that’s a powerful way that the arts can touch all of us no matter where we’re from but especially in Kentucky. We’ve always had a really strong Arts Council the Kentucky Arts Council is an organization I’ve been working with for 25 years now.
Blake [00:15:50] Wow.
Carla [00:15:51] Right. As soon as I exited college I began to do residencies funded by them over the years they have provided professional development helped us attend conferences learn how to you know do all the. Booking and making videos and all the things that you have to do to be an artist that you didn’t think you were going to have to know how to do they create awareness. Of the arts in our state they support crafts people musicians dancers you know all across the board and we have had really an exemplary Arts Council over the course of the decades and one thing that I’m a little alarmed about and I’m afraid enough people are not realizing because there’s so many alarming things going in our world on in our world it’s hard to pay attention to it all but our Arts Council funding is being slashed right now. It has been cut a million dollars that started July 1st it’s going to lose another million dollars. It has been brought down right now to where we are forty fourth out of all 50 states in terms of taxpayer funding of our arts council. And it’s it’s very alarming to me because I think the ways that the arts council have enriched our state are not always visible but you know they’re always there when Equestrian Games come into town or when some big event happens they have a presence they have booths they they bring artists they do Kentucky Crafted and they do help perpetuate those things that make all of our lives better and richer that we I’m afraid are not going to notice until they start to go away because they’ve always been there to fund it and give stipends to the artists and then create the stages and the platforms and so I that’s one thing that I would hope that you know concerned listeners could. Be aware of and help you know in in contacting their legislators and voting in legislators that are going to support the arts because I think it’s really important.
Blake [00:17:54] Absolutely. In this podcast is heard really round around the world but in the United States this is not you know Kentucky’s not.
Carla [00:18:03] We’re not alone.
Blake [00:18:04] We’re not alone in our fight for the arts. You know the other song you’ve done is paper of pens. That’s not a Jean Ritchie song right. But that’s a song that your mom taught you.
Carla [00:18:17] Yeah that’s a song that. My mother used to sing it when I was little. And there are a few versions hanging around in in eastern Kentucky but it’s just kind of reminds me of childhood and almost like a lullaby song that she would sing and it was real special to me because I got to record it with my daughter. On this most recent album that’s about to come out. And what’s really poignant is that we sang it from my mother. She passed away last August and we sang it for her not too long before she died. And she had dementia so she was losing her memory and she was like Oh that’s a nice song. Where did you learn now when I’m like Mom I learned it from you. So it’s real special that to be able to pass that went on keep it alive.
Song Lyrics- Carla [00:19:01] <Paper of Pens song – banjo and female voice>
Blake [00:21:57] I love the power of music to cut through all kinds of pain and other things but I’ve seen it work again and again with people who have dementia and there’s just something about the way that the brain works that remembers music.
Carla [00:22:15] That’s right.
Blake [00:22:16] At a really deep level would you agree with that. Have you seen that.
Carla [00:22:20] Absolutely. Yeah. I mean people who can barely remember who their own children are. Can remember the words to every song I don’t know. Like you said I don’t know what it is about how the brain processes music or stores it but I know it must be really deep in there.
Blake [00:22:34] Yeah it’s there. I mean when when we were growing up my mom took us to nursing homes you know every Sunday and we would go in and there would be some people with dementia there and we’d start singing Amazing Grace or something and they knew every word.
Carla [00:22:48] Yeah.
Blake [00:22:48] And then they turned around and they didn’t know who their daughter was.
Carla [00:22:51] Right.
Blake [00:22:52] I think that’s that’s wonderful and what a great gift that you gave to your mom and continue to give to your family.
Carla [00:23:00] Yeah well it’s really cool to see how my daughter has taken it on and just plays fiddle and banjo guitar and clogs it’s like she’s just absorbing all this stuff that she’s grown up with.
Blake [00:23:11] Yeah. And with Jean. Her music was where her family was big right. She was one of. I don’t know how many kids but.
Carla [00:23:20] 14.
Blake [00:23:20] Yeah yeah. Big family and they got together every year and had a family reunion in Viper right.
Carla [00:23:27] Yeah.
Blake [00:23:28] And so her music seems very much interwoven with her family. And it was a family thing when she was growing up. So they did.
Carla [00:23:37] Absolutely and I think that’s one of the things that makes Kentucky so special in our musical traditions is it’s it’s not divorced from context. And I noticed that when I went and performed out in Portland at their old time gathering and I think me and my daughter were the only ones there who were maybe from Appalachia. And so all the other entrance song introductions were like and I learned this from the so and so family recording you know from 1967 and did it at it. And you know I’m like uh this is when we would sing or we’re baked beans and. But that’s true of everybody you know all these great wonderful musicians I know here in Kentucky you know it’s it’s. It’s part of your life it’s woven into your life and it’s not just this abstract academic kind of thing.
Blake [00:24:25] Mm hmm.
Carla [00:24:26] And certainly that was true Jean’s music. I mean she just had so many musical people in her family her sisters. Judith and joy still come down to hindman settlement school for a family folk week which they didn’t get to have it this year. But I’ve really enjoyed spending time with them too. And some of her nieces and just getting to hang out and sing and so and does it with him.
Blake [00:24:50] We’ve we talked on our last podcast about her being an in really an ambassador for Kentucky internationally.
Carla [00:25:01] Yeah.
Blake [00:25:02] I mean she left Viper Kentucky and you know went on to just become this international superstar of folk and Appalachian music and really played for people that probably would have never thought to listen to somebody you know this kind of music right. She was able to play on stages all over the world.
Carla [00:25:24] Yeah. And I think especially at that time you know when a lot of folk music from the mountains was being being interpreted by singers like you know like Burl Ives or Joan Baez who had that really clean almost a classical presentation she was kind of like bridging that gap because you know. The world at that time was not ready for Roscoe Holcomb. It may never be you know where some of these more raw like because a lot of the music from Appalachia is a lot more just raw and gutsy and solid on the fiddle and like really hauntingly. You know the singing style is just different and Jean had more of that English kind of purer voice. And I think that’s one thing that enabled her to to go to so many different audiences and venues because it was accessible to people.
Blake [00:26:12] That’s interesting. Her voice is amazing and very beautiful very clean. As you mentioned. But then she wrote a song like black waters which which was a sort of in your face. You know I I can’t go home. I can’t go home because my the mountains are running with black waters from your coal.
Carla [00:26:32] Right. But she’s saying it so sweet and you know.
Blake [00:26:37] Yeah that’s great.
Carla [00:26:39] One thing I love about her too is that at the time she was writing all those songs she was publishing them under her grandfather’s name because women weren’t accepted as songwriters as easily. So she published everything at that time under the name Than Hall.
Blake [00:26:54] Than Hall. Well the final song that you performed for us today is sorrow and sorrow in the wind.
Carla [00:27:03] Tell you that one that that’s one of her original songs I assume she wrote it for her husband and once for a wedding somebody was like I want you to do an Appalachian some kind of Appalachian ballad but I want to happy you know like a happy love song and I was like dag on it I don’t think I know any happy Appalachian love ballads and then I thought of that one. You know it’s obviously it’s original it’s not traditional but you know it’s just this beautiful sweet love song.
Song Lyrics- Carla [00:27:42] <Sorrow in the Wind – female vocal with guitar>
Carla [00:29:59] A lot of people have recorded it and I just think it’s lovely imagery and melody and.
Blake [00:30:07] She’s written a number of songs that people Emmylou Harris and other L & N Railroad that is that probably her most popular song has been.
Carla [00:30:15] I think so because I mean it’s made it. I mean with Michelle Shocked. That was pretty big time. But it always cracks me up because when everybody sings it they say the thing. When they talk about scrip they say “script.”.
Blake [00:30:27] right. Right.
Carla [00:30:29] I think Michelle Shocked even says I never thought I’d pray to hear the temple roar instead of the tipple. So I always kind of chuckle at that.
Blake [00:30:37] But she needed some eastern Kentucky 101.
Carla [00:30:39] Dialect coach.
Blake [00:30:41] ha ha…That’s right.
Blake [00:30:44] Carla, one of the legacies. It seems like that Jean Ritchie gave to you was was the belief that music is about more than just sort of standing up and performing and having people clap for you right it’s about change.
Carla [00:31:01] Absolutely.
Blake [00:31:01] It’s about using the creative process to bring about social change in our world. And you know she was a social worker at heart. She was one of our first graduates here and really used her music in a powerful way. Tell us about some of the social justice things that you’re involved in currently.
Carla [00:31:23] OK. Well certainly social justice is a theme in my music and the music that my band creates. And so songwriting is one of my my primary methodologies where I try to put across. What I consider to be you know inclusive and in justice oriented values. Our new album has a song about the environment it has a song that Mitch wrote after working with some teenage mothers in eastern Kentucky about you know how the fact that we’re not really alone. We have a song on it. It’s kind of a tongue in cheek humorous song called there’s a hole where your soul supposed to be. And it’s kind of addressing the politicians that we’re seeing in our era that are maybe doing some things that are not especially compassionate towards various groups of people. So you know that’s that’s a way I think a really wonderful way to impart your values hopefully in a way that’s not too preachy. You can use humor. I will never forget. We have a song called “Money’s our God” with my band and we performed this Christmas party for a bunch of bankers in a small rural town in eastern Kentucky and they were mostly really conservative Republican really traditional. And this has been you know 10 years ago and but they. I was nervous to do this song because it’s kind of you know taking a poke at let’s not be greedy let’s let’s. Think about what’s really important in our lives. And they all stood up and gave us a standing ovation after that song in particular. So I thought that was interesting. I guess the other big social justice thing that I’m involved in right now that’s really close to my heart is is my corn bread and tortillas project and I have it’s something that I’ve wanted to do ever since I got my undergraduate degree at U UK because I got a simultaneous degrees in Spanish and Appalachian studies and learn Spanish at that time. And over the course of the years have because of knowing that language had so many different. Worlds and friendships and experiences opened up to me because I can venture into these other cultures that I didn’t know anything about and what I started to realize that touched me so much is that. It started with some of my friends from Mexico comparing and contrasting our culture. I realized there were so many similarities with Kentucky culture and it was at a time when we were starting to see the Latino population really growing a lot in our state for various reasons. And that’s only continued and it’s going to continue. And so this has been on my heart to do for a while to start this this collective and I’ve I’ve met people and reached out and met some nonprofit groups in Lexington and in Louisville from the Latino community they’re doing wonderful work with with mothers and children and with bridging cultures already. And so especially with what’s going on with some of the hate speech toward immigrants and some of the divisiveness and the lack of compassion you know that’s very alarming that we’re seeing I just with this artistic project it’s very important to me to try to just show people firsthand in a very visceral way our shared humanity.
Carla [00:34:57] And. We realized that with the corporate entity as collective often our M.O. is to put on a festival or we’ll go to like a community college where they already have some sort of cultural programming going on and we’ll do our show and then we’ll do workshops and then we’ll get to see these instruments from the Andes and we’ll have food and we’ll just have basically have a big party so you can pickit and you can stand on the street with signs and obviously we need to do that too. But you can also throw a big party with food and music and invite everybody to come in. It’s a way to really bring people together. So that’s our that’s our hope and our prayer.
Blake [00:35:36] Wonder if there is anything else about Jean that you want to tell us about our memories that you have of her. Or ways that she’s influenced who you are.
Carla [00:35:47] I think really one of my favorite memories that. Speaks to the power of her artistry is when we were performing in Whitesbury at Seedtime on the Cumberland. Probably. At least 15 years ago. And you know that little theater down there and Weissberg it holds about 250 people and this was sort of the final Saturday night concert for that that festival which is a it’s a festival in my hometown really close to where Jean grew up and you know showcasing mountain traditions. So it was really awesome just to be there and to play on the same bill with her and we played and then somebody else played and then she closed out the night and the theater was just jam packed standing room only people sitting in the aisles and probably a fire hazard. And you know she played all. The things that she usually plays and a lot of traditional songs but she closed with “the Cool of the day.” And she just sang and acapella. And there I mean there was a bunch of coal miners in there. I mean it was just it was a lot of mountain people a lot of people that were coming from other places but there was not a dry eye in the house when she finished and it was just like I just kind of looked around the theater and was really touched by the legacy of song that she was leaving us.
Song Lyrics- Jean Ritchie [00:37:17] Then my lord he said unto me Do you like my garden so free? You may live in my garden if you keep the people free and I’ll return in the cool of the day. Now is the cool of the day. Now is the cool of the day. Oh this earth is a garden, the garden of my Lord, and he walks in his garden in the cool of the day.
Blake [00:38:06] Yeah I first heard that song at Berea College when I was a student there and it’s a haunting song. I mean it sort of is just cuts right. Right through you you know.
Carla [00:38:19] Yeah. It’s just lays it out pretty plain and simple like like the biblical passages. Jean was basing it on you know.
Blake [00:38:32] Right, right, Well Carla I want to thank you for joining me today. I know that you’re super busy with all the things that you’re into and you know I just want to thank you for using your life. you to me are an example of somebody that Jean Ritchie would be very proud of because you’re an artist you’re a strong woman you know you work for peace and you work for justice and so you’re a great singer and songwriter so I just appreciate you and and thank you for spending some time with me.
Carla [00:39:13] Well thank you. I appreciate everything you do and I consider it just a privilege to be part of this state and all the good people here and all the all the artists and teachers and leaders and healers that are working to make our world a better place in our state.
Blake [00:39:27] Thanks.
Thank you for joining us for this special episode. Please visit our website and show notes for a link to a special dedication page to Jean, with pictures, links, and full Mp3 downloads of the songs you have heard. You can also go directly to the page by visiting http://socialwork.uky.edu/jeanritchie
You’ve been listening to the social work Conversations podcast. Thanks for joining us. And now let’s move this conversation into action.
Announcer This production is made possible by the support of the University of Kentucky College of Social Work, interim Dean Ann Vail and all the faculty and staff who support researching contemporary social problems and prepare students for the social work profession. Hosted by Dr. Blake Jones produced by Jason Johnston with thanks to our Webmaster Jonathan Hagee. Music by Billy McLaughlin. To find out more about the UK college of social work and this podcast visit http://socialwork.uky.edu/podcast