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SPEAKER_01: Hello, from Wonder Media Network, I'm Jenny Kaplan, and this is Womanica. This month we're highlighting ragers, women who use their anger, often righteous, though not always, to accomplish extraordinary things. Today we're talking about a woman who used her voice and her guitar to fight against abuse of the working class. Though she evolved into a leading figure in folk music, she never abandoned her blue collar roots. Let's talk about the women who used their anger Let's talk about Hazel Dickens. Hazel was born on June 1, 1935 in Montcalm, a small hamlet in southern West Virginia. Her father, Hillary N. Dickens, was a primitive Baptist preacher who also cut timber and drove trucks for a mining company. Hazel's mother stayed home to care for their 11 children. In the crowded household, music was a fabric of daily life. Hazel's father played banjo and was known for his sturdy singing voice. Hazel could play the guitar from an early age and had a special love for song lyrics. She liked to transcribe the words from songs she heard on the radio or from family evenings singing together into notebooks. But for much of her young life, Hazel didn't take her interest in music seriously. It was just something her family did together, a relief from their hard work and meager living. She never imagined that music would someday provide a living. After seventh grade, Hazel left school and started working in a textile mill just across the Virginia border. Her brothers and male cousins mostly found work in nearby coal mines. During the 1940s, some of Hazel's older sisters picked up and moved to Baltimore to get jobs in the shipyards. They were following an emerging migration pattern. A lot of West Virginians were heading toward Baltimore or Washington, D.C. in search of better paying jobs. Local residents even started to call some parts of Baltimore Little Appalachia. In 1954, Hazel boarded a Greyhound bus to Baltimore too. It wasn't an easy adjustment. Though she was surrounded by other families from West Virginia, she felt lonely. Her waitressing job didn't pay well. There was also a lot of hostility towards the city's newcomers from Appalachia. People called them hillbillies and were less likely to hire them. But Hazel's sister helped her find a union job at a canning factory. Later, Hazel recalled, "'That was the first time I encountered working people speaking up for themselves and having other people like the union looking out for you.'" Hazel also found community in the burgeoning folk music scene of Baltimore. She befriended Mike Seeger, a local bluegrass musician who was fascinated by Hazel's family. While he learned folk in a sanitized urban environment, the Dickens children were the real thing, born and raised on folk in Appalachia. Mike helped Hazel realize that her musical talent was something worth nurturing. He also started having regular jam sessions with Hazel and her siblings. They'd sometimes perform in local bars. Hazel played bass and sang the tenor harmonies. It was around this time that Hazel met her singing partner, Alice Girard, another local folk singer. In 1962, they made their debut as a duo, performing at an annual fiddlers convention in Virginia. They kept on singing together, and then one night, at a party, up-and-coming record producer Peter Siegel heard them performing. He liked what he heard, so much so that he and mandolin player David Grisman helped Hazel and Alice make an audition tape for a record label. In 1964, Hazel and Alice released their first album, "'Who's That Knocking?' with Folkway Records." It marked the first time that women had ever fronted a bluegrass band. Hazel and Alice kept performing together throughout the 1960s. Hazel also continued to hone her craft as a songwriter. She joined another bluegrass group called the Strange Creek Singers. Through that project, Hazel released her first ever social commentary song. It was called, "'Black Lung,'" and was dedicated to her brother who had died of the condition after years of hard labor as a coal miner. Hazel went on to pen many songs in dedication to the working class. She wrote, "'Working Girl Blues' during a long day at a retail job while she was living in Washington, D.C. She was tired and bored when inspiration struck. She scribbled these lyrics onto an inventory card. "'Well, I'm tired of working my life away and giving someone else all of my pay.'"
SPEAKER_05: ["Working Girl Blues"]
SPEAKER_01: She and the other girls on the job got into the habit of singing it together as they closed up shop for the night. She wrote the song, "'Little Linaldo' about the mistreatment of child migrant workers. Hazel announced that her song, "'Don't Put Her Down, You Helped Put Her There' was written in defense of prostitutes when she sang it at the Smithsonian Folklife Festival in 1973. Through passionate songs like these, Hazel became a fierce and loyal voice in the labor movement. Her music was featured in Barbara Koppel's Oscar-winning 1976 documentary, "'Harland County, USA,'" which told the story of a minor strike in Kentucky. And President Jimmy Carter invited Hazel to perform at the White House on Labor Day in 1980. As the years progressed, Hazel won a lot of praise as a foundational voice in folk music. In 1993, the International Bluegrass Music Association gave her a Distinguished Achievement Award, and she earned a Lifetime Achievement Award from the National Folk Alliance in 2002. Hazel died on April 22, 2011 in Washington, D.C. She was 75 years old. Hazel remains a hero of folk history to this day. Through her music, she embraced and celebrated her humble upbringing in Appalachia and championed blue-collar workers. She never strayed from her core values, her belief that working people deserve dignity and fulfilling lives. As she once wrote, "'If there's any religion in my life that's for the working class, and I want to be that way as long as I have breath.'" All month, we're talking about ragers. For more information, check us out on Facebook and Instagram, at Womanica Podcast. Special thanks to Liz Kaplan, my favorite sister and co-creator. Talk to you tomorrow.
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