Bluegrass pioneer Earl Scruggs dies at age 88

photo by Ray Tharaldson all rights reserved 2012

NASHVILLE, Tenn. (AP) — It may be impossible to overstate the importance of bluegrass legend Earl Scruggs to American music. A pioneering banjo player who helped create modern country music, his sound is instantly recognizable and as intrinsically wrapped in the tapestry of the genre as Johnny Cash’s baritone or Hank Williams‘ heartbreak.


Mr. Scruggs died Wednesday morning at age 88 of natural causes. The legacy he helped build with bandleader Bill Monroe, guitarist Lester Flatt and the rest of the Blue Grass Boys was evident all around Nashville, where he died in an area hospital. His string-bending, mind-blowing way of picking helped transform a regional sound into a national passion.


“It’s not just bluegrass, it’s American music,” bluegrass fan turned country star Dierks Bentley said. “There’s 17- or 18-year-old kids turning on today’s country music and hearing that banjo and they have no idea where that came from. That sound has probably always been there for them, and they don’t realize someone invented that three-finger roll style of playing. You hear it everywhere.”


Country music has transcended its regional roots, become a billion-dollar music and tourist enterprise, and evolved far beyond the classic sound Monroe and the Blue Grass Boys blasted out over the radio on “The Grand Ole Opry” on Dec. 8, 1945. Though he would eventually influence American culture in wide-ranging ways, Mr. Scruggs had no way of knowing this as he nervously prepared for his first show with Monroe. The 21-year-old Mr. Scruggs wasn’t sure how his new picking style would go over.


“I’d heard 'The Grand Ole Opry,' and there was tremendous excitement for me just to be on 'The Grand Ole Opry,'” Mr. Scruggs recalled during a 2010 interview at Ryman Auditorium, where that “big bang” moment occurred. “I just didn’t know if or how well I’d be accepted because there’d never been anybody to play banjo like me here. There was Stringbean and Grandpa Jones. Most of them were comedians.”


There was nothing jokey about the way Mr. Scruggs attacked his “fancy five-string banjo,” as Opry announcer George D. Hayes called it. In a performance broadcast to much of the country but unfortunately lost to history, he scorched the earth and instantly changed country music. With Monroe on mandolin and Flatt on guitar, the pace was a real jolt to attendees and radio listeners far away, and in some ways the speed and volume he laid down predicted the power of electric music.


Tut Taylor, a friend of the Scruggs family who heard that first performance on the radio in his Georgia home, called it an unbelievably raucous moment, “a lot like some of the rock ‘n’ roll things they had, you know. But this was a new sound. It was a pretty sound and a welcome sound.”


Mr. Scruggs‘ use of three fingers — in place of the limited clawhammer style once prevalent — elevated the banjo from a part of the rhythm section — or even a comedian’s prop — to a lead instrument that was as versatile as the guitar and far more flashy.


Country great Porter Wagoner probably summed up Mr. Scruggs‘ importance best of all: “I always felt like Earl was to the five-string banjo what Babe Ruth was to baseball. He is the best there ever was, and the best there ever will be.”


Mr. Scruggs‘ string-bending and lead runs became known worldwide as “the Scruggs picking style,” and the versatility it allowed helped popularize the banjo beyond the traditional bluegrass and country forms. Today the banjo can be found in almost any genre, largely because of the way Mr. Scruggs freed its players to experiment and find new space.


That was exactly what Ralph Stanley had in mind when he first heard Mr. Scruggs lay it down. A legendary banjo player in his own right, Mr. Stanley said in an interview last year that he was inspired by Mr. Scruggs when he first heard him over the radio after returning home from military service in Germany.


“I wasn’t doing any playing,” Mr. Stanley said. “When I got discharged, I began listening to Bill, and Earl was with him. I already had a banjo at that time, but of course I wanted to do the three-finger roll. I knew Earl was the best, but I didn’t want to sound like him. I wanted to do that style, but I wanted to sound the way I felt, and that’s what I tried to do.”


Dave Rawlings, a Nashville singer-songwriter and producer, said Mr. Scruggs remains every bit as influential and fresh seven decades later. He said it’s impossible to imagine nearly every guitar player mimicking Jimi Hendrix, but with Mr. Scruggs and the banjo, that’s the reality.


“The breadth and clarity of the instrument was increased so much,” he said. “He invented a style that now probably 75 percent of the people that play the banjo in the world play Scruggs-style banjo. And that’s a staggering thing to do, to play an instrument and change what everyone is doing.”


News of Mr. Scruggs‘ death quickly spread around the music world and over Twitter. Mr. Bentley and bluegrassers such as Sam Bush and Jon Randall Stewart celebrated him at the Tin Pan South gathering of songwriters in Nashville, and Eddie Stubbs dedicated the night to him on WSM, the home of “The Grand Ole Opry.” On the Internet, actor and accomplished banjo player Steve Martin called Mr. Scruggs, with whom he collaborated in 2001 on “Earl Scruggs and Friends,” ”the most important banjo player who ever lived.” Hank Williams Jr. sent prayers to the Scruggs family, and Charlie Daniels tweeted: “He meant a lot to me. Nobody will ever play a five string banjo like Earl.”


Neil Portnow, president and CEO of the National Academy of Recording Arts and Sciences said in a statement the four-time Grammy winner and lifetime achievement award recipient “leaves an indelible legacy that will be remembered for generations to come.”


Flowers were to be placed on his star on the Hollywood Walk of Fame on Thursday.


Mr. Scruggs earned that star when he and Flatt weaved themselves into the fabric of American culture in the 1950s and ‘60s.


Flatt and Scruggs teamed as a bluegrass act after leaving Monroe from the late 1940s until breaking up in 1969 in a dispute over whether their music should experiment or stick to tradition. Flatt died in 1979.


They were best known for their 1949 recording “Foggy Mountain Breakdown,” played in the 1967 movie “Bonnie and Clyde,” and “The Ballad of Jed Clampett” from “The Beverly Hillbillies,” the popular TV series that debuted in 1962. Jerry Scoggins did the singing. For many viewers, the endlessly hummable theme song was their first introduction to country music.


Flatt and Scruggs‘ popularity grew, and they even became a focal point of the folk music revival on college campuses. Mr. Scruggs‘ wife, Louise, was their manager and was credited with cannily guiding their career as well as boosting interest in country music.


Later, as rock ‘n’ roll threatened country music’s popularity, Flatt and Scruggs became symbols of traditional country music.


In the 1982 interview, Mr. Scruggs said “Bonnie and Clyde” and “The Beverly Hillbillies” broadened the scope of bluegrass and country music “more than anything I can put my finger on. Both were hits in so many countries.”


After the breakup with Flatt, Mr. Scruggs used three of his sons in the Earl Scruggs Revue. The group played on bills with rock acts such as Steppenwolf and James Taylor. Sometimes they played festivals before 40,000 people.


Mr. Scruggs always will be remembered for his willingness to innovate, but he wasn’t always accepted for it. In “The Big Book of Bluegrass,” Mr. Scruggs discussed the breakup with Flatt and how his need to experiment drove a rift between them. Later in 1985, he and Flatt were inducted together into the Country Music Hall of Fame.


“It wasn’t a bad feeling toward each other as much as it was that I felt I was depriving myself of something,” Mr. Scruggs said. “By that, I mean that I love bluegrass music, and I still like to play it, but I do like to mix in some other music for my own personal satisfaction, because if I don’t, I can get a little bogged down and a little depressed.”


In 2005, “Foggy Mountain Breakdown” was selected for the Library of Congress’ National Recording Registry of works of unusual merit. The following year, the 1972 Nitty Gritty Dirt Band’s “Will the Circle Be Unbroken,” on which Mr. Scruggs was one of many famous guest performers, joined the list, too.


Mr. Scruggs was fairly active in the 2000s, returning to a limited touring schedule after frail health in the 1990s. In 1996, hes suffered a heart attack in the recovery room of a hospital shortly after hip-replacement surgery. He also was hospitalized late last year but seemed in good health during a few appearances with his sons in 2010 and 2011, though he had given up the banjo for the guitar by then.


Mr. Scruggs is survived by two sons, Gary and Randy. Louise Scruggs, his wife of 57 years, died in 2006. He often talked of her, recounting how their eyes had met while she watched him perform at the Ryman, and friends noted a sense of melancholy in Mr. Scruggs over his final years.


Mr. Bentley attended Mr. Scruggs‘ birthday party in January and had a chance to pick one more song in a circle with the legend. He even snapped a picture with his 3-year-old daughter, something he says he’ll cherish forever.


Mr. Scruggs was fairly active in the 2000s, returning to a limited touring schedule after frail health in the 1990s. In 1996, hes suffered a heart attack in the recovery room of a hospital shortly after hip-replacement surgery. He also was hospitalized late last year but seemed in good health during a few appearances with his sons in 2010 and 2011, though he had given up the banjo for the guitar by then.


Mr. Scruggs is survived by two sons, Gary and Randy. Louise Scruggs, his wife of 57 years, died in 2006. He often talked of her, recounting how their eyes had met while she watched him perform at the Ryman, and friends noted a sense of melancholy in Mr. Scruggs over his final years.


Mr. Bentley attended Mr. Scruggs‘ birthday party in January and had a chance to pick one more song in a circle with the legend. He even snapped a picture with his 3-year-old daughter, something he says he’ll cherish forever.

Solar storm's upside: Best places to see intense northern lights

By Mary Forgione Los Angeles Times Daily Travel

Travelers in Alaska, Canada, the northern Plains, parts of the Midwest and much of the West tonight (Thursday) may be treated to a northern lights display more intense than usual because of the powerful solar storm hitting the Earth's surface, according to science and weather reports.

The geomagnetic storm reached Earth about 5:45 a.m. EST Thursday. Scientists say the initial storm has been weaker than expected but may intensify later today.

Northern lights trackers say tonight could bring a spectacular show to mid- and high latitudes in the Northern Hemisphere. AccuWeather.com says bright streaks were seen over the Great Lakes region Wednesday night.

And here's the forecast for Alaska from the Geophysical Institute at the University of Alaska, Fairbanks: "Auroral activity will be high. Weather permitting, highly active auroral displays will be visible overhead from Barrow to Bethel, Dillingham and Ketchikan, and visible low on the horizon from King Salmon."

The Weather Channel says about the aurora forecast: "There is near certainty that this solar storm will produce aurora across the northern latitudes and could produce them as far south as the mid-latitudes," particularly on Thursday night-Friday morning.

Outside the U.S., Spaceweather.com shows spectacular northern lights photographs taken Wednesday night from northern parts of Russia, the Sky Station at Abisko National Park in Sweden and parts of Finland.

For those who might be in the northern lights belt, here are some viewing tips from the Geophysical Institute:

"[A]void city lights, and acquire a clear view of the northern horizon. Dress warmly, and plan to watch the sky between 10 p.m. and 2 a.m. local time, although an active period can occur anytime during the dark hours. Active periods are about 30 minutes long, occurring every 2 hours."

Auroral photography: A guide to capturing the Northern Lights

By Ben Hattenbach
If you've ever been interested in aurora photography, now is a great time to get out there and give it a try. Here's why:

    The activity of our sun (the cause of aurorae here on Earth) ebbs and flows in eleven year cycles.  The peak of the current solar cycle - an apex of auroral activity - will occur around 2013.

    Revolutionary improvements in imaging technology have been made since the last solar cycle. We have progressed from film to an age of digital image sensors which offer far greater sensitivity and resolution, along with real time feedback and less noise.

    Our ability to predict the timing and intensity of aurorae has been enhanced considerably with the launch of the Solar & Heliospheric Observatory, the product of a collaboration between the European Space Agency and NASA.

In the next few years we will enjoy sensational aurorae, advance notice of their arrival, and the equipment necessary to capture them as never before. Even armed with all of these advantages, however, the aurorae are not going to put themselves on your memory cards. That's something you'll have to do yourself, and it can be a struggle.

This article provides ten suggestions that, if followed, will improve your odds of emerging from that struggle with some exceptional imagery. This article consists of two pages - the first page deals with how to find an aurora and equip yourself to capture it properly, and page 2 will guide you through the remainder of the process, including camera settings, composition and advanced topics.

1. Know Your Subject

Let’s begin by getting to know the aurora. According to my friend, astrophysicist Dr. Henry Throop, the aurora was thought at one time to be caused by ices suspended high above the Earth’s coldest, darkest regions. We now know that the aurora is actually an electrical phenomenon, caused by interactions between the solar wind and the Earth’s upper atmosphere. The sun emits massless photons that we see as light, but also emits out a real, physical, tangible wind of particles which moves at several hundred kilometers per second.

When this wind reaches the Earth, it begins a process that ends by exciting gasses in the Earth’s atmosphere, eventually leading to the emission of light. And just as a true neon light only comes in one color (red), the colors of the aurora are limited too: green and red caused by oxygen, with the fainter blue and purple caused by nitrogen. Unlike the wispy shapes of the aurora, its colors are narrow and precise.

Just like stars, the aurora is present during the day and the night, though during the day it is overwhelmed by the brightness of the sky. As the sun sets, it starts to become visible, being brightest near midnight when the orientation of the Earth’s magnetic field and the solar wind cause it to be strongest. The aurora is seen mostly in a ring centered roughly around the poles, where the solar wind is focused most intensely by the Earth’s magnetic field.

If the Earth had no magnetic field, we’d still have an aurora, but it would be weaker and more flat across the sky: a dull glow seen in every direction. A planet like Jupiter with a stronger magnetic field has a comparably more intense aurora, while Mercury - having neither an atmosphere nor magnetic field - has no aurora at all.

A terrestrial wind passing across the continents creates an unsettled display of turbulence and eddies, which we see in the form of dynamic cloud patterns, vortices, weather, and storms. In much the same way, the solar wind crossing the Earth’s magnetic field makes visible to us the turbulence of space: the vortices and eddies of magnetic fields peel off and pass rapidly overhead.

Even though - like wind - the magnetic fields themselves are invisible to us, we can see it through its tracers: charged particles. As the aurora moves in the sky overhead, the ripples in it are like the wakes and eddies peeling off a boat as at travels up a rough river at night, working at times with, at time against, the current and forcing what’s there out of the way.

2. Timing Is Everything

Now that you know what you’re chasing, when should you expect to actually see your quarry? Sadly there is no easy answer to that question. Here are some notes to consider, as you prepare for the hunt:

    Aurorae are caused by Earth-directed coronal mass ejections. Those ejections often come from solar flares associated with sunspots, or originate from coronal holes on the sun. The sun rotates around into an Earth-facing position roughly every 27 days, meaning that at least on a short term basis there is an element of a 27 day cycle to geoeffective emissions.

    There is an annual cycle that results in disproportionately high numbers of aurorae in the weeks on either side of the spring and fall equinoxes.

    There is an 11-year solar cycle (the 'Schwabe cycle') during which the activity of the sun rises and falls. The number of sunspots tends to track this cycle, resulting in prevalent aurorae around the peak of this cycle. Oddly enough, though, coronal holes are most common about three years after the sunspot maximum, resulting in large numbers of aurorae also appearing about three years after the peak of the Schwabe cycle.

    There are also much longer solar cycles stacked on top of these shorter ones, including cycles with periods of 22 years (the 'Hale cycle'), 87 years (the 'Gleissberg cycle'), 210 years (the 'Suess cycle') and 2,300 years (the 'Hallstatt cycle'). Most of us won’t be around for more than a few of these, though, so there is little sense letting them drive our planning.

    The weather on Earth is another important factor. If the sky is cloudy, it doesn't matter what's going on above the cloud layer - you won't see it. In much of the arctic, the skies tend to be clearer in late winter and early spring than in fall.

    Ambient light is another critical issue. In the high arctic, excessive sunlight will overwhelm any aurorae during summer and the surrounding months. The moon is another source of ambient light that must be considered. A partial moon may helpfully illuminate the surrounding countryside, avoiding the “silhouette” effect common in aurora photographs. I usually prefer about a quarter to a half of a moon when I’m including landscape in a photograph and want it to be illuminated. Anything approaching a full moon, however, can make it quite difficult even to see, much less photograph, ordinary aurorae.

Fortunately, the modern auroral photographer can take advantage of a lot of 'real time' information and analysis of so-called 'space weather', freely available online. Resources I recommend include:

    The most informative space weather related information on the net, in my view is www.spaceweather.com.

    An alternative presentation of similar information is available from the Space Weather Prediction Center.

    Good short-term auroral predictions for Alaska are available on the University of Alaska website.

    iPhone and iPad applications 'LightTrac' and 'Darkness,' which provide location-based data regarding sun and moon rise/set.

    Further information on solar cycles is available on Wikipedia.

3. Location, Location, Location

Photographers in search of exceptional aurora imagery will generally need to travel a significant distance. This is because aurorae form in oval rings that, roughly speaking, circle the magnetic north pole (the 'aurora borealis') and magnetic south pole (the 'aurora australis').  When observed from far away, these rings will appear as a faint glow on the horizon. When viewed from the arctic or antarctic, however, even an ordinary aurora will often appear directly overhead.

Overhead aurorae tend to be more photogenic, clearer and brighter because of reduced atmospheric interference, and will more effectively illuminate the foreground. Auroral displays over snow, for instance, will generally cause the snow to take on the coloration of the aurora. In comparison, when an aurora is low on the horizon, the foreground will often appear as a less-interesting silhouette.

In addition to finding a location remote from the equator, you’ll want to situate yourself far away from city lights, airports, and other sources of light pollution. To give you a quantitative sense of what this means, when photographing around Fairbanks, Alaska (population under 100,000, counting the surrounding boroughs), I prefer to be at least 30 to 40 miles out of town. The farther, the better. Even from 100 miles into the bush, my photos will occasionally still show a faint orange glow on the horizon.

     

Here are a few popular spots:

    Central and Northern Alaska: Relatively easy access from most of the United States, via Fairbanks. Hundreds of miles of beautiful mountain scenery, with year-round road access. The best locations, in my opinion, are along the Dalton Highway north of Coldfoot.

    Iceland: Astoundingly beautiful landscapes abound, and unfrozen water suitable for reflections is abundant, even in winter. Frequently overcast, but still one of the world’s most wonderful countries to visit. However, travel from most places outside of Europe can be time-consuming, and staying in Iceland can be very costly.

                                                                                                          

    Yellowknife, Canada: Well-situated in the auroral belt, but most photos from Yellowknife seem to feature flat fields of snow with pine forests.

    Greenland: At the time of writing Greenland is quite difficult to reach directly from the United States or most other countries, unless you’re a world-class swimmer. There's no road system, but Greenland is a superb place to snowshoe around in the dark, searching for aurorae. Greenland isn't for the faint of heart though - think twice before wandering around in the dark, searching for aurorae in a land filled with polar bears.

    Tromsø, Norway: A very long trip from North America, not even counting the time required to find the 'ø' on your computer when booking the flight. This location offers picturesque mountains and water in which auroral reflections regularly appear, but you might struggle to completely exclude the glow of town and city lights from your photographs.

    Antarctica: Exotic, and one of few locations where one can photograph the aurora while huddling for warmth with a colony of emperor penguins. Unfortunately, unless you’re a scientist overwintering at a research station, it’s virtually impossible to access the continent when aurora are most prevalent.

As I’m based on the west coast of the United States, northern Alaska has become my preferred location for aurora photography.

4. Gear Up For Battle

When photographers are asked how they managed to achieve a certain result, they will usually point to their own artistic proficiency, not the capability of their tools. 'It’s the photographer, not the camera,' is the common refrain. There are, of course, elements of artistry in aurora photography as well. However, the importance of good quality equipment cannot be overstated. Aurora photography does not require the most expensive kit available; it requires gear that can capture broad views, in low light, in cold weather. You will need:

    A camera body that excels with clean high-ISO operation. There are a number of new bodies in recent years that meet these criteria well, and which have enabled revolutionary advances in the field of aurora photography. Weather-sealing is a definite plus, although not a necessity.

    A wide, fast lens. On a full frame camera, a focal length of 24mm or less is desirable – but the wider, the better, in my experience. Ideally the lens will be able to shoot sharp pictures with minimal vignetting at a maximum aperture of f 2.8 or less, as you’ll want to keep your exposures short. All else being equal, your exposure will be inversely proportional to the square of your aperture, meaning that a lens at f 2.8 will need four times as long to capture an image as at f 1.4. Currently, my favorite lens for this purpose is Nikon’s AF-S Nikkor 14-24mm f 2.8G ED.

    A sturdy tripod, and a remote shutter release (or, at a pinch, your camera's self-timer function). Don’t bother leaving home without them. They’re essential for aurora photography. A robust ballhead is also extremely useful.

Gearing up for winter photography, at night, in the arctic, necessitates psychological preparation as well. If you want to get the most out of your journey, you’ll need to be prepared to be awake and working most of the night.

5. Brace Yourself For A Chilly Reception

Aurorae just don’t seem to enjoy the warmth of the tropics or the glow of the midnight sun during summer.  You’ll need to play on their home turf, during the dark months. That means planning to spend hours on end, standing around outside at night, quite possibly in extreme cold, and probably a long way from home.

Clothing: be sure you’re dressed for the occasion. This is not a party you’ll want to attend in a mini-skirt.  For winter aurora photography I’ve settled on a down-filled mountaineering suit (the Mountain Hardwear Absolute Zero), winter boots rated to -40 degrees F (the Sorel Caribou Reserve), multiple pairs of long thermal underwear (Under Armour ColdGear Base 3.0, both top and bottom), and a wind-proof cap (by Mountain Hardwear).

For the hands, you’ll want gloves thick enough to keep you warm, but thin enough to allow you to operate your camera. Personally I prefer to forgo gloves and keep my hands in warm pockets between shots. Most of the time it works fine. If you’re averse to occasional frostbite, try a different approach.

Batteries: The temperatures of the far north take an enormous toll on battery life. My camera batteries last around 1,500 actuations in normal conditions, but in the arctic winter have become exhausted after as few as 25 frames. The conventional cold weather advice is to keep your battery warm by storing it in a jacket pocket while not in use, but that is not an adequate solution under extreme arctic conditions. I recommend bringing multiple batteries and a charger, and rotating the batteries through the charging station when they’re not in use. If your aurora photography will take you far from the nearest well-stocked camera store, consider also bringing backups for any other 'mission critical' elements of your system.

Tripods: Carbon fiber tripods are just wonderful. They’re light, and in cold weather can be carried without chilling your hands as much as metal would. In frigid temperatures, however, both the carbon fiber legs and the adhesive used to connect then to your tripod base can become brittle. Exerting substantial pressure on your tripod, particularly when its legs are buried in deep snow, can easily result in the amputation of a leg. If you’d prefer not to find yourself hundreds of miles from civilization, with only a 'dipod' for support, be particularly cautious when planting your gear in deep snow.

Cameras and lenses: As noted above, weather-sealing is preferable. In part, this is to help prevent condensation from forming inside your equipment, when you move from an exceptionally cold environment (e.g., shooting outside) to a much warmer space (e.g., into a heated car). Particularly for non-weather-sealed equipment, including most medium format cameras and lenses, it is essential that the cold-to-warm transition be made gradually. It only takes one misstep to generate trip-ending amounts of condensation inside your lenses or sensor. To help slow the transition, I transfer my equipment to a camera bag that has also been outside, and only after sealing the bag do I move the bag and its contents into a warmer space. The camera is then allowed to heat up, slowly and safely, within the bag. For even better protection, consider placing your equipment in an airtight enclosure, such as a Ziploc bag, during the thawing process.

Safety gear: If you’re headed to the far north during winter you should, of course, also read up on how to travel safely in cold, icy climates. When travelling in northern Alaska between November and March, I’ll usually bring extra fuel, chemical additives to prevent the fuel from freezing, an oversupply of food (including food that will be palatable when frozen), a cold weather sleeping bag (rated to -25 degrees F), jumper cables and a tow rope with which a vehicle could be rescued after sliding off of an icy road. My tow rope has paid for itself on multiple occasions.