An Experimental Orchard And Larry Groce Has Our Song Of The Week, This West Virginia Morning

On this West Virginia Morning, an experimental apple orchard in the state is helping to fight pollution, improve food scarcity and some hope even heal veterans. Briana Heaney has the story.

On this West Virginia Morning, an experimental apple orchard in the state is helping to fight pollution, improve food scarcity and some hope even heal veterans. Briana Heaney has the story.

Also, in this show, our Mountain Stage Song of the Week comes to us from co-founder, artistic director and former host of Mountain Stage, Larry Groce. Groce is joined by the Mountain Stage House Band in this 1991 performance of “Turn! Turn! Turn!”

West Virginia Morning is a production of West Virginia Public Broadcasting which is solely responsible for its content.

Support for our news bureaus comes from Shepherd University.

Our Appalachia Health News project is made possible with support from Marshall Health.

West Virginia Morning is produced with help from Bill Lynch, Briana Heaney, Chris Schulz, Curtis Tate, Emily Rice, Eric Douglas, Jack Walker, Liz McCormick, and Randy Yohe.

Eric Douglas is our news director. Chris Schulz produced this episode.

Listen to West Virginia Morning weekdays at 7:43 a.m. on WVPB Radio or subscribe to the podcast and never miss an episode. #WVMorning

LISTEN: Larry Groce Has The Mountain Stage Song Of The Week

This week’s broadcast of Mountain Stage is a special episode featuring songs that represent the four seasons of the year. You’ll hear live performances by Doc Watson, Bruce Hornsby, Susan Werner, Molly Tuttle, Taj Mahal, Norah Jones and many more.

“There is a season… turn, turn, turn.”

This week’s broadcast of Mountain Stage is a special episode featuring songs that represent the four seasons of the year. You’ll hear live performances by Doc Watson, Bruce Hornsby, Susan Werner, Molly Tuttle, Taj Mahal, Norah Jones and many more.

Our Song of the Week comes from co-founder, artistic director and former host of Mountain Stage, Larry Groce. Groce is joined by the Mountain Stage House Band in this 1991 performance of “Turn! Turn! Turn!” The song was composed by Pete Seeger and made famous by The Byrds, but its lyrics were borrowed from a Bible verse that emphasizes that there is “a time to every purpose under Heaven.” The song sums up the essence of this special episode, and it seems only fitting that the one and only Larry Groce be the voice to do it.

Tune in to this week’s special episode starting Friday, April 26 on these public radio stations. Be sure you’re watching our podcast page for the newest episodes, and sign up for email updates to help plan your trip to be a part of a live show in Charleston, West Virginia and on the road!

Us & Them: Our Foster Care Crisis

Across the nation, more than 390,000 children rely on foster care. However, a shortage of licensed foster homes is creating a national crisis. While official foster care cases are carefully tracked, many informal examples of kinship care aren’t part of the data. For this Us & Them episode, we hear the experiences of those who’ve been part of the foster care system.

There’s a foster care crisis in America. Nationally, more than 390,000 children are in foster care. In West Virginia, that’s just over 6,000 children who need a safe place to call home. Last year, more than half of all states saw their number of licensed homes drop, some as high as 60 percent. That challenge comes because new foster parents don’t stay in the system for long.

On this episode of Us & Them, host Trey Kay hears about the shortage of licensed foster homes. Foster care is most often needed because of parental substance use, mental health challenges, poverty and neglect.

While official foster care cases are tracked and overseen by state agencies and nonprofit organizations, there are many informal kinds of so-called kinship care that are not official or included in state data. Some experts say the number of those kinship cases drives the stakes of the challenge much higher.

This episode of Us & Them is presented with support from the West Virginia Humanities Council, CRC Foundation and Daywood Foundation. Subscribe to Us & Them on Apple Podcasts, NPR One, RadioPublic, Spotify, Stitcher and beyond.


Dominic Snuffer was 5 when he and his four younger siblings went into the first of their foster care homes.

“I was in several foster care situations… I think three or four. It always seemed short and seemed as if we were getting bounced around. The hard part was probably just the beginning, how much I just always try to keep my siblings in check. I felt as if, if they behaved in a way, just like the other situations we might get taken away. It feels like yesterday that I got adopted. It went by fast. The things that make me smile was definitely adoption day. ‘Cause I knew, I finally found a family and I could try and live out the rest of my childhood.”

— Dominic Snuffer

Photo Credit: Trey Kay/West Virginia Public Broadcasting
Larry Cooper is executive vice president of Innovation at The Children’s Home Network (CHN) of Tampa Bay, Florida. The agency works with kids in the foster care system and also provides services to prevent and support families from ever entering into the foster care system. Cooper has worked at CHN for more than 20 years, and he’s spent 8 years licensing foster homes while recruiting and training new foster parents. Cooper says some of the challenges bringing in new foster parents comes from an approval process that’s strict for a reason – but can take more than 12 months. A lot of people drop out along the way.

“You might fall off because of just life experiences that you may be going through. You might have a change in jobs. You might have an illness in your family. You might have a death in the family. And so I used to see for every 100 parents that I recruited, I might get only four to six families actually get a kid into their home for every hundred that would call me and be interested in becoming a foster parent.”

— Larry Cooper

Photo Credit: The Children’s Home Network
Marc and Brandi Wilson live in St. Clairsville, Ohio — just across the river from Wheeling, West Virginia. Brandi was a Child Protective Services worker in West Virginia for 20 years. One day back in 2014, her work at the Department of Health and Human Resources and her personal life collided when they became foster parents to a baby related to Marc.

“They both took the stand and said that they give up the rights to their child, I just started breaking down. [Brandi] was sitting beside me like this and she looked over at me. She said, ‘What’s wrong?’ I said, ‘I can never imagine saying that about my own child.’ She was kind of numb to it because she’s worked in the field. It was hard to hear somebody say that.” — Marc Wilson

“It wasn’t until he was sitting next to me in the courtroom that I realized not everybody hears relinquishment. Not everybody hears abuse, neglect. Not everybody hears that – as CPS workers [this is] just everyday language. So once I was with him and realized, OK, this isn’t everybody’s life. They may have drug issues, domestic violence, gangs coming in and out of their home, but these words are not everyday life for a lot of people.” — Brandi Wilson

Photo Credit: Trey Kay/West Virginia Public Broadcasting
Rachel Kinder supervises The Kinship Navigator Program with Mission West Virginia, a nonprofit that’s been around since 1997. Kinder has been working with the foster care system for more than two decades, and has seen lots of trends. In 2019, there was a record high of 7,200 children in West Virginia’s foster care system. She says, while it’s one thing to count the legal cases overseen by the Department of Human Services, there are many informal kinds of kinship care that are not official or included in state data.

“I can tell you the number of kids in formal care, so if there are 6,078 kids in foster care in West Virginia, right now 58 percent of those are in kinship relative placements. For kids in informal care, where grandma or an aunt or some type of relative or even what we call fictive* kin has stepped in, it’s almost impossible to get numbers on that.”

— Rachel Kinder

*Fictive care refers to placements where a foster parent knows the child but is not related to them. This could be a teacher, family friend or a neighbor.

Photo Credit: Mission West Virginia
There’s a clear need for foster families across the nation and in West Virginia. Nikki and Louisa Snuffer knew they would consider becoming foster parents when it came time for them to start a family. There’s a lot going on at their Sissonville home. The couple currently has 12 children, ranging from ages 10 months to 20 years old. Plus, they breed French Bulldogs.

“It actually was a pretty easy decision, because we were both on the same page almost always with helping people. I’ve known since probably my early high school years that I did want to do foster care. However, we really wanted no more than maybe three. And the way life and things happen, we got five at one time. I have two brothers who were put in foster care that I never knew and I still don’t know. So we made a commitment that when we got into it, that we would never split up families.” — Louisa Snuffer

“If they call us for a sibling group, we’re not going to say no to them because that was our number one belief. Like, ‘We need to do whatever we can to keep siblings together.’ When we were initially approved, we were approved for four children. So, DHHR told us we could have four children in the house, given the space. And that was kind of our cap. I said, ‘Maybe we’ll do three tops,’ you know, that seems like a manageable number. And the very first call we got for placement was a sibling group of five. Of course we said yes. We had to do a few things to get approved for a fifth child. They moved in with us. Things went great.” — Nikki Snuffer

Photo Credit: Trey Kay/West Virginia Public Broadcasting
Nikki Snuffer is holding her granddaughter. Many of the children the Snuffers have cared for, they know through Nikki’s job at Winfield High School. She’s an instructor for the Future Leaders Program, which is the National Guard’s high school curriculum that’s taught by veterans. In the program, students learn leadership and life skills, science, career prep and other subjects.

“[For] my kids that have gone to Winfield, I make them go through the [Future Leaders] program. Not because I’m teaching it, but because even if it wasn’t me, I’d want them to get these skills. It’s the kind of things that are forgotten these days.”

— Nikki Snuffer

Photo Credit: Trey Kay/West Virginia Public Broadcasting

How Appalachian NASCAR Hall Of Famer Leonard Wood Reinvented Racing

Stock car racing’s roots run deep in Appalachia. Our twisty roads and dark hollers were home to moonshiners — and moonshine runners, who became known for their driving skills. And they became some of NASCAR’s first stars when it formed in 1948. But NASCAR’s oldest continuous racing team had nothing to do with moonshine.

This conversation originally aired in the April 21, 2024 episode of Inside Appalachia.

Stock car racing’s roots run deep in Appalachia. 

Our twisty roads and dark hollers were home to moonshiners — and moonshine runners, who became known for their driving skills. And they became some of NASCAR’s first stars when it formed in 1948. But NASCAR’s oldest continuous racing team had nothing to do with moonshine. 

The Wood Brothers first started running races in 1950. Glenn Wood drove their cars, and he was enshrined in the NASCAR Hall of Fame in 2012. His brother Leonard followed in 2013. Leonard worked on the cars, and was part of what was known as “the most skilled pit crew in the world.”

Glenn Wood passed away in 2019. The team is run by his kids and grandkids. Leonard is now 89. And he still works daily at the Wood Brothers Racing Museum in their hometown of Stuart, Virginia. 

Inside Appalachia Host Mason Adams dropped by to speak with him.

NASCAR Hall of Famer Leonard Wood at the team’s museum in Stuart, Virginia.

Photo Credit: Mason Adams/West Virginia Public Broadcasting

Adams: The first thing I wanted to ask you is, I’ve had people tell me that drivers help but it’s really mechanics that win races. Is that true? 

Wood: It’s both. You can have the best car in the world and the driver not do his job like it’s supposed to. But yeah, a good driver is a big credit to your winnings, but he can’t carry it on his back, he’s got to have something that’ll perform. I’d rate it equal, one or the other.

Adams: Were you mechanically inclined as far back as you can remember in life, or was there a moment where it kind of clicked for you?

Wood: No, I was always mechanical in mind. I’d always tear my toys apart. Brother Delano, his next Christmas were like brand new, and mine all torn to pieces. Back when I was just 12 years old, I was making little Jeeps out of wood. Then I made one and had a steering wheel on it and I would come roaring down that hill, the back of the hill. We used to have a bottle of oil, and we’d oil the axles and put the wheels back on so they drove faster, you know. Those little bottles are still buried up there for a long time. Then  I made a gasoline-powered go kart when I was 13. It’s in the museum over there, and it’s got a washing machine motor on it.

I can remember when I was just a young thing, I told my dad I wanted something with a motor on it. And so then my sister’s husband’s dad had a washing machine with a gasoline motor on it, and when electricity came along, he took the gasoline mode off and put an electric motor on it. My brother in law gave me that motor, then I made a go kart out of it.

Hall of fame racing hands.

Photo Credit: Mason Adams/West Virginia Public Broadcasting

Adams: Oh wow. So my 11 year old loves tearing stuff apart and sometimes builds it back together, sometimes not. What advice would you have for him? 

Wood: Well, when you decide to make something, you do heavy concentration and you stick to that until you get the thing done. You don’t just do a little bit here and lay it down and all that. When you start to make something, concentrate hard on what you want to build and how you want to build it, and keep doing it ‘til you get it fixed.

I used to design zone cylinder head ports and intake manifolds and all that, and when I’d start, I’d just keep at it ‘til I got it like I wanted it. I didn’t lay it down and forget about it, come in next week and work on it. When you really want to make something and make it run, you just concentrate ‘til you fix it. I don’t know at times that I have thought of ways to do it, and something just triggers my mind how to do it. And then before I get done, something else triggers my mind, “No, this is the way you do it — even better.”

I tell people, “I know what I do know and I also know what I don’t know.” My dad always said what he didn’t know it make a great big book, and I feel the same way. But I do thank the Lord [for] the talent he gives me to do the things I do.

Adams: What’s your next project?

Wood: Eddie and Len always come up with something for me to do. They decided to have me make a half-size 427 engine. We started making it. I have a great machinist — Bennie Belcher. He’s the greatest I’ve ever seen. He can take regular milling machines and turning lathes and all that, and make it look like a CNC made it. He and I together, you know, we made this 427 half-size like we ran at Daytona.

So Eddie tells Edsel Ford what they’re going to have me to do. Edsel says, “Well, it’d be nice to have it to look like a 427 that won Le Mans in 1967.” So that’s what we ended up making, was one like that won the Le Mans race in 1967. Edsel said, “We’ll put it in the Ford museum,” so that’s where it is now. So now they decided to make a 429 Boss Hemi engine like David Pearson drove in the ‘71 Mercury. So we got that about two-thirds done right now. And we’re going to make that one run. The one in the Ford museum, the manifold, all that’s fixed, but you don’t have any parts to make it run. But this one’s gonna run.

A workshop at the Wood Brothers Racing Museum in Stuart, Virginia.

Photo Credit: Mason Adams/West Virginia Public Broadcasting

Adams: I’ve thought about that famous Wood Brothers pit crew and how tight y’all had that system. Where did that come from? Was that a combination of the mechanics applied to the pit crew and maybe some military background? Or do you know?

Wood: We were at Charlotte in 1960, World 600, the very first one. And we had two cars. We prepared two Fords. So Fireball Roberts and Smokey Yunick made a pit stop, to change two tires and fuel. Took them 45 seconds. John Cowley with Ford Motor Company told us, “I think there’s some time to be gained in the pits.” We started working on it, so right away we was down to 25 seconds with the same deal. Then we just worked from there.

We would machine the studs, recess the end of them, you could put a lug nut on them and start the lugs. Then put a spring in the socket, so whenever you went from one lung to the other, throw the socket out and all that, and now we’ve got the tires changed. Now we’re waiting on the jack to get up. It took about 12 pumps. So I enlarged the plunger so it only takes like two strokes to jack the car up. So now I got the tires changed, now the gas won’t go in. So now we start working on the fuel system, streamline that to where it improved the fuel flow, and now we got a quick pit stop. 

We was coming back from California and we stopped down at Greenville, South Carolina to fuel the truck and get a bite to eat. Brother Ray and I was in this little ton truck, and the race car’s on an open trailer and these people, these fans were all standing around looking at it. When we come out when it was 20 degrees, so we didn’t stand around and talk. We got in the truck and left.

We get between Greenville and Charlotte, ready to stop in Charlotte. And this truck starts vibrating and shaking and brother Ray said, “You can even feel it in the roof.” I’m looking at the one side to see if there was an airport nearby, an airplane warming up or whatever, and then it quit. Then we got up to Charlotte and we had to exit off, and it started up again. I look out the side glass and see steam coming out the exhaust pipe for the race car. And so I told Ray, “Stop this thing.”

We stopped and I went around, and I could see this silhouette of a human behind the windshield. I’m thinking now, one of the crew members has pulled a trick on us and got in the car. Then I’m thinking, no he ain’t that dumb, as cold as it is. I look in, this guy’s got Marvin helmet on. I said, “What do you think you’re doing?” And he said, “Let’s go!”

Anyway, we pulled him out and then about that time, a sheriff drives up, and we handed him over to the sheriff.

Adams: Oh my goodness.

Wood: I didn’t know the guy. I don’t know where he lives and haven’t heard from him since. I would love to get to talk to him. But I don’t know where he is, whatever happened to him.

Adams: Thank you very much. It’s been an honor talking to you.

Wood: Well, same here. You’ve been interesting.

——

View Leonard Wood’s 2013 hall of fame video and a video of him building a half-scale model.

Silkroad Ensemble Brings Eclectic Stylings To W.Va.

WVPB’s Matt Jackfert speaks with harper, composer and producer Maeve Gilchrist. They discuss her compositions, the Silkroad Ensemble and the group’s upcoming performance.

The eclectic Silkroad Ensemble is bringing their talents to the stage in Morgantown, West Virginia this week. Founded by Yo-Yo Ma in 1998, the ensemble brings together music from many cultures to spark cultural collaboration for a more hopeful and inclusive world.

The Silkroad Ensemble will be bringing this creative energy and spirit with them in their upcoming performance called “Uplifted Voices” to Morgantown at 7:30 p.m. on Wednesday, April 24 at the Lyell B. Clay Theatre at the Canady Creative Arts Center.

As Maeve Gilchrist, Celtic Harpist and composer, says, the Silkroad Ensemble “is an incredible collection of musicians from all over the world.” Gilchrist brings a Celtic influence to the ensemble as Celtic harpists run deep in her family.

Her piece, “Far Down Far,” she says, is a deconstruction and reconstruction of a Scotts-Irish reel, inspired by what you would find in Irish communities in America at the turn of the century. In her piece, she claims she writes out much of the notation but also allows for improvisation and input from the performers, giving way for more personal nuanced inflections during performance.

Find out more about Gilchrist, her compositions, the Silkroad Ensemble and their upcoming performance in this interview with WVPB’s Matt Jackfert.

Music clips featured in the interview:

  • “Far Down Far” by Maeve Gilchrist  
  • “Tamping Song” by Haruka Fujii

 Click here to purchase tickets.

The Grammy Award-winning Silkroad Ensemble will visit Morgantown for a one-night performance on April 24, 2024.

Photo Credit: West Virginia University College of Creative Arts

W.Va. Couple Follows Passion For Woodwork By Building A Life And A Business Together

For Sue and Stan Jennings, woodworking isn’t just a way to make a living, it’s a way of life. What started out as a passion for the craft was born out of necessity. Over the last 30 years, the Jennings have developed a thriving business making wood objects called treenware — small wooden kitchen utensils. 

This story originally aired in the April 21, 2024 episode of Inside Appalachia.

For Sue and Stan Jennings, woodworking isn’t just a way to make a living, it’s a way of life. What started out as a passion for the craft was born out of necessity. Over the last 30 years, the Jennings have developed a thriving business making wood objects called treenware — small wooden kitchen utensils. 

The Jennings learned to make spoons through a lot of trial and error. But both of them can trace their passion for woodworking back to their childhoods. 

Sue grew up helping out her father who was a contractor. Stan’s father had a sawmill and his grandfather was a carpenter. “I had a little bit of woodworking in my DNA,” Stan says. 

Their mutual love of woodworking ended up being the foundation for their own relationship as a couple. 

“When I met my husband, we were both working in the coal mines underground. And when we first started getting to know each other, the question we would ask is, ‘If you had anything in the world you wanted to do, what would be first on your list?’” Sue says. “And I said I wanted to be a woodworker. And he had the same dream. So right off the bat we knew there was something pretty special there.” 

The chance to chase their dreams came sooner than expected. Not long after the couple met, Sue and Stan were laid off from the mines.

“We all walked in and got our pink slips and that was the end of our coal mining business,” Sue says. “And that’s how this evolved, because we needed a way to make a living.” 

To make ends meet, the couple started selling odds and ends at craft shows. During that time, both experimented with making spoons. 

Stan says the first set of spoons he made were less than impressive, but were created from the heart. And because he needed a cheap present for Sue. 

“I suppose I was too tight to buy a Christmas gift,” Stan says. “I made her a set of dogwood spoons. And that was actually the first set of spoons we made. I’m ashamed to even show people, it turned out so bad, but Sue hung on to them.” 

Sue also caught the spoon-making bug and tried to make a set herself. “The first spoon I made was a set of measuring spoons, and I made it out of rhododendron [wood],” Sue says. “And that’s because we had gone to a show and we met a spoon maker, and we talked and talked about him. I was fascinated from the very beginning.” 

The Jennings discovered there was a whole culture around wooden utensils when they stumbled upon the book Treen and other wooden bygones. This book ended up changing the direction of their business. But they almost didn’t buy it. 

“At the time it was like a $50 book and we stood there and agonized over spending $50 on this book because we couldn’t afford a book for $50,” Sue says. “So there was our first exposure to the word ‘treen.’”

Sue Jennings holding her copy of Treen and other wooden bygones, a book by Edward H. Pinto.

Photo Credit: Capri Cafaro/West Virginia Public Broadcasting

Treen is a Saxon word that refers to wooden items made from the tree for use in the kitchen or dairy. After buying the book, Allegheny Treenware was born. Much of the inspiration for their product design — and the name of their business — has come from the book.

Over 30 years later, the book is still on their shelves. It’s thick and well-worn, filled with photos of wooden kitchen items. There is a clear design connection between what is in the book and what the Jennings make today. The items are both functional and beautiful. 

Over the years, the couple has grown as craftspeople thanks to a combination of grit and learning from other woodworkers. Now, times are not as tight and their process is much more sophisticated. They have several employees and a workshop full of high-end equipment. Their treenware is sold online all around the world, and the spoons are coveted collector’s items. 

There’s a lot of action on the shop floor to fulfill these orders. Staff shift between workstations dedicated to a specific purpose. Each spoon starts with a pattern that is traced onto a board of wood and cut, just like a clothing pattern for fabric. 

“When we make the spoon or whatever, there’s no duplicating machines, there’s no computerized equipment. Everything is truly made by hand here at this shop,” Sue says. 

While there is now a team behind Allegheny Treenware, the Jennings reserve the most difficult part of the process for themselves: the shaping finish of the spoon. This requires very coarse sandpaper on a spinning disc which can cut your hands if you’re not careful. 

Sue says her approach to shaping is different from Stan’s. She pre-shapes the spoon first, while Stan starts by planning things out before he sits down at a machine. “We’re different sides of the brain and we go about things differently,” Sue says. “[Stan’s] very methodical and I’m not, but we end up in the same place.” 

Patterns used to make wooden utensils at Allegheny Treenware.

Photo Credit: Capri Cafaro/West Virginia Public Broadcasting

The Jennings also have complimentary skills as business partners, especially when they were selling at craft shows. 

Sue reflects on how she and Stan would interact with customers. “I’m always at the booth selling and his job was to entertain,” she says. “He’d be hand-carving a spoon and he’d be telling stories, entertaining the men while the women went shopping. It worked perfectly.” 

Before a spoon is complete, there are some finishing touches put on it. They burn their initials “SJ” into the spoon and then soak it in food grade oil to bring out the color of the wood. 

Back of a classic wooden “granny spoon” made by Allegheny Treenware.

Photo Credit: Capri Cafaro/West Virginia Public Broadcasting
Detail of engraving on the back of a wooden spoon made by Allegheny Treenware to indicate it is made of cherry wood. Initials “SJ” indicate the product was made by Sue and Stan Jennings.

Photo Credit: Capri Cafaro/West Virginia Public Broadcasting

These spoons are much more than wooden utensils. They represent the sweat equity of one couple who has stayed true to their dreams, and each other, for over three decades.

——

This story is part of the Inside Appalachia Folkways Reporting Project, a partnership with West Virginia Public Broadcasting’s Inside Appalachia.

The Folkways Reporting Project is made possible in part with support from Margaret A. Cargill Philanthropies to the West Virginia Public Broadcasting Foundation. Subscribe to the podcast to hear more stories of Appalachian folklife, arts and culture.

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