Arts

The “Scots-Irish” and the “Savage South”

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Tuesday, 08 July 2025

Written by D.G. Martin

“The Savage South” is an image that retired UNC-Chapel Hill Lineberger Professor of the Humanities Fred Hobson thinks and writes about. He tried to explain to me why, over the years from colonial times until today, so many observers characterize our region as being more violent, more savage, than other parts of the United States.
People have given many reasons to explain our region’s image. Of course, the institution of slavery is often at the top of the list. But Hobson asserts that, even before slavery had taken deep root, the southern colonies had a bad reputation. According to Hobson, the weather played some role. It was hot and miserable in the South during the summer—contributing to bad temper and misery. On the other hand, says Hobson, the warm weather made it easier to get subsistence crops out of the ground, so that some farmers had too much free time, leading to sloth and sometimes violence.
Still, slavery and its accompanying brutality were major reasons for the South’s bad reputation until the Civil War put an end to it. But the backwoods, mountain, and other “frontier” areas of the South never had a significant slave presence or culture. Nevertheless, observers viewed these areas as part of the “Savage South.”
Hobson got my attention when he explained that these areas were settled mostly by hard-headed, independent-minded people from Northern Ireland, who were accustomed to standing up to authority and fighting to get whatever they considered to be rightfully theirs.
Now, he was talking about my people, “Scots-Irish.” They were hardline Presbyterian Scots whose families had been settled in Ireland for many years. They had to fight for their rights in Ireland, both against the mostly Catholic native Irish, whom their settlements often displaced, and their English overlords, who tried to force the Anglican Church on them.
The title of former Senator and Navy Secretary James Webb’s book, “Born Fighting,” supports Hobson’s assertion that these Scots-Irish were a major factor in the “Savage South” image.
The Romans conquered the southern part of Britain but never controlled what is now Scotland. In fact, the Romans built a wall across the island to keep the northerners from attacking them—Hadrian’s Wall.
There followed centuries of border wars between the ancestors of the Scots-Irish and the people who lived to their south. After the Norman conquests, the Scots resisted the Norman feudal model and their kings’ attempts to impose it on Scotland.
In about 1603, the Scottish King James VI became King James I of England. Shortly afterwards, in an effort to gain greater control of Ireland, thousands of Presbyterian Scots moved to the northern part of Ireland to take over lands confiscated from native Irish Catholics.
After years of standing up to and fighting both the Irish and the English overlords, waves of these Ulster Scots began migrating to the colonies, many of them winding up on the frontiers and in the mountains, with a great presence in the South. In America they fought Indians on the frontier and stood up to the English colonists who ran the colonial governments. When the American Revolution broke out, the Scots-Irish provided more than 40 percent of the troops that fought the British.
Webb asserts that the Scots and the Scots-Irish, throughout their history, tended to select their leaders, rather than merely blindly following those who were put in charge. Their leaders had to earn their respect and loyalty. It was not automatic. And they expected their leaders to be brave, assertive, and tenacious.
These traits made the Scots-Irish the backbone of American fighting forces in the Revolution, Civil War, both World Wars, Korea, and Vietnam, where Webb himself fought bravely. They are the fighting traits, though, that also helped give rise to the “Savage South” image that Hobson discusses.
However, Webb believes that the fighting qualities of the Scots-Irish are basically positive values in themselves. Webb’s sub-title for “Born Fighting” is “How the Scots-Irish Shaped America.” I do not know how Webb would react to an idea that associated the Scots-Irish with an image of the “Savage South.” But there is no doubt that he would assert that the Scots-Irish traits of independence, suspicion of authority, and resistance to oppressive government are important and healthy characteristics that undergird the American democratic experience.
Whatever you think of the Scots-Irish and their various traits, one thing is quite clear. America would not be the same without them (or should I say, without us.)

Forget fireworks—Fayetteville’s summer starts with art

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Tuesday, 03 June 2025

Written by Sara Busman, Arts Council of Fayetteville

For many, summer kicks off with sunny beach days, backyard barbecues, and the crackle of fireworks. But at the Arts Council of Fayetteville | Cumberland County, the real start of the season is marked by something a little more creative—the annual PWC Public Works Exhibit. Now celebrating its 20th year, Public Works is a beloved, community-wide art exhibit presented by the Arts Council and sponsored by the Fayetteville Public Works Commission. Running from June 6 to July 6, the exhibit transforms the gallery into a vibrant showcase of local talent, open to artists of all ages.
“It’s one of the few exhibits where children can share wall space with professional artists,” says Carly Cox, Communications and Outreach Assistant, who’s been with the Arts Council for nearly six years. She’s seen firsthand how powerful that experience can be—her own daughter, Eisley, once had a piece selected that ended up hanging in a downtown business.
“It was a huge confidence boost for her,” Cox says.
Barbara Hayes, the front desk receptionist, sees that excitement daily. “You can feel the pride radiating off the artists and their families,” she says. “It’s really inspiring—even for me as an observer.”
The exhibit isn’t just a gallery stroll—it’s a celebration of community. The opening reception kicks things off on June 6 from 6 p.m. to 8 p.m. with live music by local performer Michael Daughtry. Throughout the month, visitors can vote for their favorite piece in the People’s Choice contest. The winning artist will be spotlighted on the Arts Council’s social media and take home a prize basket. Voting runs from June 6 to June 26, with winners revealed on June 27, aligning with the Cool Spring Downtown District’s Fourth Friday festivities. That evening, the celebration continues with interactive experiences inside and outside the gallery. Inside, PWC’s Field Crew and Watersheds team will offer fun, educational displays on local environmental efforts. Outside, expect toe-tapping performances by the Fayetteville Ukulele Club and the opportunity to snap a selfie with Art, the PWC Public Works mascot.
The community aspect of the show is important to curator Beverly Henderson. Henderson has participated in Public Works as an assistant curator and exhibiting artist, and she will be curating the show this year.
“The PWC exhibition holds a special place in my heart. I sold my first painting at the first PWC exhibit I entered,” she said.
But to Henderson, Public Works isn’t just about the joy and pride the artists experience. She hopes that viewers see the gallery with a mind towards inclusion and the necessity of community art.
“My hope is that visitors will see the potential in the works of young and upcoming artists, the mastery in the works of experienced artists, and understand that art is an essential component of life,” she said.
PWC Public Works Exhibit comes at the close of the fiscal year and a season of exhibits programmed by the Arts Council. The year ends with a focus on community, art, and engagement. From first-time artists proudly seeing their work in a gallery to seasoned creatives connecting with new audiences, Public Works invites everyone to be part of something meaningful.

Black Artist Forward brings vision to Dirty Whiskey

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Tuesday, 17 June 2025

Written by Amber Little

“Perhaps, the mission of an artist is to interpret beauty to the people—the beauty within themselves.”
—Langston Hughes

Black art is a spectrum, a lifted veil to the culture. It has served as a political statement for equality and inclusiveness and has inspired the masses with its beauty. Black art is an expansion of the black artist who creates it. Each piece of art is a moment in time, a feeling, a statement. Black artists have used their art to show the beauty of the culture and the black experience. Some used their art as a protest against anti-blackness and anti-queerness.
No matter the subject or theme, black art is an unforgettable experience. In celebration of black art, Dirty Whiskey Craft Cocktail bar is hosting a Juneteenth art exhibit, Notes of Ebony, in collaboration with Black Canvas and Black Artist Forward on Thursday, June 19, from 6 p.m. to 9 p.m. This is a free community event, but donations are highly encouraged to support BAF. Dirty Whiskey Craft Cocktail Bar is located at 5431 Corporation Drive, Hope Mills.
What better way to celebrate Juneteenth than cocktails, black art, and the opportunity to support a nonprofit that supports black artists? Black Canvas and Black Artist Forward have curated a spectacular, creative and expressive exhibit featuring local black artists' work. This is the perfect opportunity to support artists. Donations made will be used to support artists through an emergency relief fund and help the organization continue to put on free community art exhibits.
Black Artist Forward is a 501(C)(3) was founded in 2023 by April Mata (A. Mata Designs) and Shakeyla Ingram (Haus Host) on the mission of “Our passion is art and our community is black folx.” BAF has three main goals:
1. Putting money in the hands of African American Artists
Historically African American artists have been underrepresented and, most importantly, underpaid in the art community, with pieces often selling for far less than their value. Continuing the tradition of undervaluing art created by African American artists.
2. Equity in Art
BAF is focused on "a fair distribution of funding" in North Carolina for African American Artists. Board members actively participate in round table discussions and conferences, highlighting the importance of access to grants to African American artists.
3. Building Community
BAF has created a network of artists that includes seasoned artists with a wealth of knowledge and resources to help up-and-coming artists in building their careers. The organization is committed to building a strong community of artists who work together to push everyone to success.
Black Artist Forward was featured at this year’s Juneteenth Sovereign celebration in Festival Park and has more exhibits scheduled for the year.
June 27: Intimate Tunes (Music, Poetry, and Good Vibes)
FACTS Wellness & Retreat Center, 8175 Cliffdale Rd, Suite 116
6:30 p.m. to 9 p.m.
July 23- July 25: 2025 Association of African American Museums Conference
Embassy Suites in North Charleston, 5055 International Blvd, North Charleston
For more information about Black Artist Forward, visit the website at https://www.blackartistforward.com/about. For more information about Black Canvas, visit the website at https://bit.ly/4dWS2Ce

"Ferris Bueller’s Day Off" Comes to the Cameo

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Wednesday, 04 June 2025

Written by Adam Taylor

One of the most iconic films of the 1980s, Ferris Bueller’s Day Off, will be showing at the Cameo.  I adore John Hughes’ films.  There is something timeless about his films that continues to resonate with generations of moviegoers.  Whether it’s the heartwarming camaraderie between a group of high school misfits or the hilarious rebellion of a charming teenager skipping school for a day of freedom, Hughes’ work
encapsulates the essence of youth.  From Sixteen Candles to Ferris Bueller’s Day, Hughes became the voice of the ‘80s, portraying the joys and struggles of adolescence with humor, wit and a deep understanding of the human condition.  His films not only defined an era but also left an indelible mark on pop culture that endures today.
At the heart of every John Hughes film is the exploration of teen relationships.  Whether it’s the friendships formed in The Breakfast Club, the love-struck antics of Sixteen Candles, or the close-knit bonds of Ferris Bueller’s Day Off, Hughes knew how to capture the magic of those formative years when everything feels urgent, and emotions run wild.   His teen characters are often rebellious, giving audiences a chance to see
themselves reflected on the big screen.

The Brat Pack: Defining an Era
When you think of John Hughes, you can’t ignore the cultural phenomenon that became known as the “Brat Pack.”  This group of young actors—led by Molly Ringwald, Emilio Estevez, Judd Nelson, Ally Sheedy, and Anthony Michael Hall—brought Hughes’ characters to life in some of the most iconic teen films of the 1980s.  The Breakfast Club, released in 1985, is perhaps the most popular of the Brat Pack films, capturing
the essence of teenage rebellion, angst and connection in a single day spent in detention.
Hughes’ ability to humanize the archetypes of high school life set him apart from other filmmakers of the time.  In The Breakfast Club, five students from different cliques—The Jock (Estevez), The Princess (Ringwald), The Brain (Hall), The Criminal (Nelson) and The Basket Case (Sheedy)—are forced to spend a Saturday together in detention.  Through candid conversation and surprising revelations, they begin to break down the stereotypes they’ve been labeled with and realize they have more in common than they thought.  Hughes used the Brat Pack as a vessel for this universal message, making the characters and their relationships relatable to anyone who had ever felt misunderstood or out of place.
Teen Relationships and the Complexity of Growing Up
One of the most important aspects of Hughes’ films is the way he explores teen relationships—not just romantic ones, but friendships and family dynamics as well.  In Sixteen Candles, we follow Samantha Baker (Ringwald) through the awkward chaos of her sixteenth birthday.  Amidst the embarrassment of her family forgetting her birthday and her unrequited crush on Jake Ryan (Michael Schoeffling), Samantha’s
journey is about more than finding love—it’s about navigating the complexities of being a teenager and learning to appreciate the relationships that matter most.
Likewise, Ferris Bueller’s Day Off delves into the friendships that define high school life. Ferris (Matthew Broderick) is the ultimate charismatic teenager who decides to skip school for a day of adventure, but what makes his journey interesting is the bond he shares with his best friend, Cameron (Alan Ruck). Their relationship is one of loyalty and understanding, with Ferris challenging Cameron to break free from his anxiety and fears. Their friendship, though put to the test, becomes a heartwarming element of the film, reminding viewers that the connections we form in our youth often shape us into the adults we become.
Hughes’ exploration of relationships extends beyond friendships and romances to family dynamics, often highlighting the disconnect that occurs between parents and teenagers.  In Ferris Bueller’s Day, Ferris’ parents are largely absent or oblivious to his schemes, but it’s his sister Jeannie (Jennifer Grey) who embodies the frustrated teen trying to get attention in a house that overlooks her. 
While Sixteen Candles and The Breakfast Club focused on more grounded and emotional teen experiences, Weird Science (1985) took a wild, sci-fi twist on the genre.  Two high school nerds, Gary and Wyatt (played by Anthony Michael Hall and Ilan Mitchell-Smith), use their computer skills to create the perfect woman, Lisa (Kelly LeBrock), a beautiful and intelligent dream girl who emerges from their experiment.  
Pretty in Pink (1986) delves into the complexities of class and love, showcasing the struggles of Andie Walsh (Molly Ringwald), a high school senior caught between her love for the rich, popular Blane (Andrew McCarthy) and her loyalty to her best friend, Duckie (Jon Cryer).  The film tackles the issue of class division in high school, with Andie’s personal life reflecting the emotional barriers that arise from socioeconomic
status.  Unlike Sixteen Candles, which centers on teen awkwardness, Pretty in Pink takes a deeper dive into social expectations and the difficulties that arise when you try to cross those invisible lines in high school.  
The Cultural Impact of John Hughes’ Films
John Hughes’ films had a lasting impact not just on the teen genre, but on the cultural landscape of the 1980s and beyond.  They captured the mood of a generation and gave voice to the issues that teenagers were grappling with at the time—issues of identity, rebellion, acceptance and the complicated relationships with authority figures.  
Hughes’ Legacy in Modern Cinema
The influence of John Hughes can be seen in countless films that followed in his wake. Directors like Amy Heckerling (who directed Clueless) and Jason Reitman (whose film Juno echoes Hughes’ coming-of-age sensibilities) have cited Hughes as an inspiration for their own works.  Even modern teen comedies like Easy A and Booksmart owe a debt to Hughes’ ability to balance sharp humor with emotional resonance.
Hughes’ focus on teen relationships—how they evolve, how they challenge us and how they ultimately help us grow—has made his films feel just as relevant today as they
were when they first hit theaters.  His characters remain relatable, their dilemmas universal and their emotions timeless.
See one of Hughes’ classics, Ferris Bueller’s Day Off at the Cameo Art House Theatre June 8. Tickets on sale at cameoarthouse.com