Moonshining as a Fine Art: The Foxfire Americana Library (1)

BOOK: Moonshining as a Fine Art: The Foxfire Americana Library (1)
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ANCHOR BOOKS EDITION, SEPTEMBER 2011

Copyright © 1972, 1973 by The Foxfire Fund, Inc.

All rights reserved. Published in the United States by Anchor Books, a division of Random House, Inc., New York.

“Moonshining as a Fine Art” originally appeared in
The Foxfire Book,
© 1972 by Brooks Eliot Wigginton. Reprinted by permission of Random House, Inc.

“Jake Waldroop’s Recipe for Blackberry Wine” originally appeared in slightly different form in
Foxfire 2,
© 1973 by the Southern Highlands Literary Fund, Inc. and Brooks Eliot Wigginton. Reprinted by permission of Random House, Inc.

Anchor Books and colophon are registered trademarks of Random House, Inc.

eISBN: 978-0-307-94820-5

v3.1

Table of Contents

Cover

Title Page

Copyright

A NOTE ABOUT THE FOXFIRE AMERICANA LIBRARY SERIES

For almost half a century, high school students in the Foxfire program in Rabun County, Georgia, have collected oral histories of their elders from the southern Appalachian region in an attempt to preserve a part of the rapidly vanishing heritage and dialect. The Foxfire Fund, Inc., has brought that philosophy of simple living to millions of readers, starting with the bestselling success of
The Foxfire Book
in the early 1970s. Their series of fifteen books and counting has taught creative self-sufficiency and has preserved the stories, crafts, and customs of the unique Appalachian culture for future generations.

Traditionally, books in the Foxfire series have included a little something for everyone in each and every volume. For the first time ever, through the creation of The Foxfire Americana Library, this forty-five-year collection of knowledge has been organized by subject. Whether down-home recipes or simple tips for both your household and garden, each book holds a wealth of tried-and-true information, all passed down by unforgettable people with unforgettable voices.

MOONSHINING AS A FINE ART

T
he manufacture of illicit whiskey in the mountains is not dead. Far from it. As long as the operation of a still remains so financially rewarding, it will never die. There will always be men ready to take their chances against the law for such an attractive profit, and willing to take their punishment when they are caught.

Moonshining as a fine art, however, effectively disappeared some time ago. There were several reasons. One was the age of aspirin and modern medicine. As home doctoring lost its stature, the demand for pure corn whiskey as an essential ingredient of many home remedies vanished along with those remedies. Increasing affluence was another reason. Young people, rather than follow in their parents’ footsteps, decided that there were easier ways to make money; and they were right.

Third, and perhaps most influential of all, was the arrival, even in moonshining, of that peculiarly human disease known to most of us as greed. One fateful night, some force whispered in an unsuspecting moonshiner’s ear, “Look. Add this gadget to your still and you’ll double your production. Double your production, and you can double your profits.”

Soon the small operators were being forced out of business, and moonshining, like most other manufacturing enterprises, was quickly taken over by a breed of men bent on making money—and lots of it. Loss of pride in the product, and loss of time taken with the product increased in direct proportion to the desire for production; and thus moonshining as a fine art was buried in a quiet little
ceremony attended only by those mourners who had once been the proud artists, known far and wide across the hills for the excellence of their product. Too old to continue making it themselves, and with no one following behind them, they were reduced to reminiscing about “the good old days when the whiskey that was made was
really
whiskey, and no questions asked.”

We got interested in the subject one day when, far back in the hills whose streams build the Little Tennessee, we found the remains of a small stone furnace and a wooden box and barrel. On describing the location to several people, we were amazed to discover that they all knew whose still it had been. They all affirmed that from that still had come some of the “finest home brew these mountains ever saw. Nobody makes it like that any more,” they said.

Suddenly moonshining fell into the same category as faith healing, planting by the signs, and all the other vanishing customs that were a part of a rugged, self-sufficient culture that is now disappearing. Our job being to record these things before they die, we tackled moonshining too. In the six months that followed, we interviewed close to a hundred people. Sheriffs, federal men, lawyers, retired practitioners of the old art, haulers, distributors, and men who make it today for a living; all became subjects for our questioning. Many were extremely reluctant to talk, but as our information slowly increased we were able to use it as a lever—“Here’s what we know so far. What can you add?”

Finally we gained their faith, and they opened up. We promised not to print or reveal the names of those who wished to remain anonymous. They knew in advance, however, that we intended to print the information we gathered—all except that which we were specificially asked not to reveal. And here it is.

IN THE BEGINNING

According to Horace Kephart in
Our Southern Highlanders
(Macmillan, 1914), the story really begins with the traditional hatred of Britons for excise taxes. As an example, he quotes the poet Burns’ response to an impost levied by the town of Edinburgh.

                         Thae curst horse-leeches o’ the Excise

                         Wha mak the whiskey stills their prize!

               Haud up thy han’, Deil! ance, twice, thrice!

                              There, sieze the blinkers!

               An’ bake them up in brunstane pies

                              For poor d—n’d drinkers.

Especially hated were those laws which struck at the national drink which families had made in their own small stills for hundreds of years. Kephart explains that one of the reasons for the hatred of the excise officers was the fact that they were empowered by law to enter private houses and search at their own discretion.

As the laws got harsher, so too the amount of rebellion and the amount of under-the-table cooperation between local officials and the moonshiners. Kephart quotes a historian of that time:

Not infrequently the gauger could have laid his hands upon a dozen stills within as many hours; but he had cogent reasons for avoiding discoveries unless absolutely forced to make them. [This over two hundred years ago.]

A hatred of the excise collectors was especially pronounced in Ireland where tiny stills dotted rocky mountain coves in true moonshining tradition. Kephart quotes the same historian:

The very name [gauger, or government official] invariably aroused the worst passions. To kill a gauger was considered anything but a crime; wherever it could be done with comparative safety, he was hunted to death.

Scotchmen (now known as Scotch-Irish) exported to the three northern counties of Ireland quickly learned from the Irish how to make and defend stills. When they fell out with the British government, great numbers of them emigrated to western Pennsylvania and into the Appalachian Mountains which they opened up for our civilization. They brought with them, of course, their hatred of excise and their knowledge of moonshining, in effect transplanting it to America by the mid 1700s. Many of the mountaineers today are direct descendants of this stock.

These Scotch-Irish frontiersmen would hardly be called dishonorable people. In fact, they were Washington’s favorite troops as the First Regiment of Foot of the Continental Army. Trouble began after Independence, however, with Hamilton’s first excise tax in 1791. Whiskey was one of the few sources of cash income the mountaineers had for buying such goods as sugar, calico, and gunpowder from the pack trains which came through periodically. Excise taxes wiped out most of the cash profit. Kephart quotes Albert Gallatin:

We have no means of bringing the produce of our lands to sale either in grain or meal. We are therefore distillers through necessity, not choice, that we may comprehend the greatest value in the smallest size and weight.

The same argument persists even today—battles raged around it through the Whiskey Insurrection of 1794, and over government taxes
levied during the Civil War, Prohibition, and so on right to this moment.

THE LAW vs. THE BLOCKADER

The reasons for the continuous feud implied in this heading should be obvious by now. The government is losing money that it feels rightfully belongs to it. This has always been the case. In the report from the Commissioner of Internal Revenue for 1877–78, the following appeared:

The illicit manufacture of spirits has been carried on for a number of years, and I am satisfied that the annual loss to the Government from this source has been very nearly, if not quite, equal to the annual appropriation for the collection of the internal revenue tax throughout the whole country. In [the southern Appalachian states from West Virginia through Georgia and including Alabama] there are known to exist 5,000 copper stills.

It’s different now? Clearly not, as seen in an article in the May 3, 1968 Atlanta
Constitution
on the interim report of the Governor’s Crime Commission. In October, 1967, there were around 750 illicit stills in Georgia, operating at a mash capacity of over 750,000 gallons. This amounts to approximately $52 million in annual federal excise tax fraud, and almost $19 million in state fraud. The article quotes the Commission, placing the blame for Georgia’s ranking as the leading producer of moonshine in the United States on “corrupt officials, a misinformed and sometimes uninterested public, and the climate created by Georgia’s 129 dry counties.”

Originally arrests had been made by government officials (“Feds” or “Revenuers”), but during Prohibition much of the enforcement was left up to the local sheriffs. This put many of them in a peculiar position, for the moonshiners they were being told to arrest were, in many cases, people they had known all their lives. As it turned out, however, most of the lawbreakers were reserving their hostility for the federal agents and the volunteers (called “Revenue Dogs”) who helped them. They had nothing against their sheriff friends who, they understood, were simply doing their jobs. The sheriffs, for their part, understood the economic plight of the moonshiners. For many of these people, making moonshine was the only way they had at the time of feeding their families. As one told us, “I felt like I was making an honest dollar, and if it hadn’t’a been for that stuff, we’d a had an empty table around here.”

The situation resulted in a strange, friendly rivalry in most cases.
As one moonshiner said, “I never gave an officer trouble except catchin’ me. After I’uz caught, I’uz his pickaninny.”

The same man told us of a time when he was caught by a local official who was as friendly a man as he had ever met. He wasn’t treated like a criminal or an animal, but treated with respect as another man making a living for a large family—which he was. After it was all over, the local official had made a friend instead of an enemy, and the two are still fast friends today.

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